Review: A MIDSUMMER NIGHT’S DREAM, Chichester Festival Theatre
Often seen as a staple of summer theatre, A Midsummer Night’s Dream has only been produced at the Chichester Festival Theatre once before, in 2004. Unsurprisingly, this new production is far from traditional - whatever that might mean these days - but is a concept-led performance. It is 1994, we’re in Sussex (Chichester or the Downs) and we find the players as part of local politics in general - and the Conservative party in particular.
While the fairy band indulge in dubious substances and rave away on the Downs, the local branch of the Young Conservatives rehearse their play for the wedding of local MP, Theseus. The setting has been thought through carefully and there are some clever changes, although none of it makes sense in the light of day, of course. But maybe that is the central message of the play.
The opening scenes, with Henry Everett’s Chief Constable Egeus, lay out the familiar plot of the lovers, although in this production Hermia (a sparky pink-clad Angela Sant’Albano) is in a same-sex relationship with a gender-switched Lysanda. This actually works surprisingly well, and makes the confusion in the wood rather easier to follow than it sometimes is if the actors are easily confused.
We soon find ourselves in the woods/Downs, where a world-weary David Sturzaker as Oberon is tiring of his Titania, the gloriously raddled Eve Ponsonby. Their squabble over the changeling boy (Gavin Rasmussen, also an entertainingly camp Philostrate) sets the remainder of the plot in motion.
The comic sub-plot is by far the most successful part of the production, as is often the case. What is lost in some rushed verse speaking is made up for by the mechanicals, led by YC new member Bottom. Comedian Munya Chawawa plays the role: it is an excellent comic performance and he handles the text well. Every word is clear and he manages to project to every corner of this barn of a theatre. Equally good is Shane David-Joseph as Puck, Oberon’s cousin here but still charged with dubious errands. Both are adept at interacting with audience members.
The large cast appear regularly as fairy ravers, dancing impressively but perhaps a few too many times on the impressive set from Joanna Scotcher. Projections and lasers transform screens and sails, and sliding triangles reveal detailed sets for the interior scenes. From rising telephone boxes to caravans on the Downs, there is good work here, as with Ryan Dawson Laight’s costumes. The fairies all sport neon-enhanced accessories and the clothes for the lovers and the mechanicals tells us everything we need to know about them. Bottom’s neon-outlined head works well and we accept the other-worldiness of the fairies without a pair of wings to be seen.
Directors Justin Audibert and Hannah Joss manage the large cast well, and ensure that the transposition to 1990s Sussex is complete. Mentions of Athens become Chichester (although thereby breaking the scansion of the lines on occasions) and the fairies hang out at Kingley Vale, the mention of which was greeted by a knowing laugh from much of the audience who will know this local nature reserve and its ancient trees well. What with the audience interaction, mention of local places and regular musical numbers, this is the second occasion this week when your reviewer felt that panto time has come early this year.
Most of the audience were carried along by the changes and had a great time, although there were a few empty seats after the interval. Oberon’s description of the Mechanicals as “a crew of Tories, crass Conservatives” is an indication of how much the text is changed at times, as is the list of alternative entertainment offered by Philostrate. The morning lark that brings the revels to an end is a police siren…
Theatregoers of all ages with an open mind and looking for a light-hearted take on a familiar classic will have an enjoyable evening. A lot of thought has been put in to this classic and the key performers ensure a good time is had by (almost) all.
**** Four stars
Reviewed by: Chris Abbott
Photo credit: Manuel Harlan