Review: A MIDSUMMER NIGHT’S DREAM, Regent’s Park Open Air Theatre
Photo credit: Marc Brenner
There are few venues better suited to A Midsummer Night's Dream than Regent's Park Open Air Theatre. As daylight fades and the surrounding trees become part of the scenery, Atri Banerjee's vibrant production feels perfectly at home. Bursting with humour, imagination and heart, it captures everything that makes Shakespeare's comedy so enduring while proving it can still surprise modern audiences.
When a dispute between Oberon and Titania spills into the human world, four young lovers become caught in a whirlwind of mistaken identities and magical interference, orchestrated by the mischievous Puck. Alongside them, a troupe of amateur actors unknowingly stumble into the fairy kingdom, where Bottom finds himself at the centre of the chaos. Love is tested, loyalties shift and confusion reigns before harmony is finally restored.
Banerjee's direction strikes an impressive balance between respecting Shakespeare's language and embracing contemporary comedy. Modern ad libs often feel forced in classic texts, but not here. Every addition lands naturally, enhancing rather than distracting from the play's wit. Running jokes that see Oberon affectionately dubbed "Obe Wan Kanobe" and later "Obs and Gynae" could easily feel out of place, yet they become some of the evening's biggest laughs. They perfectly demonstrate that Shakespeare's comedies were written to entertain, and that spirit remains firmly intact throughout this production.
The cast is exceptionally strong across the board, creating a genuine sense of ensemble that keeps the production fizzing with energy from beginning to end. Olivier Huband brings an understated confidence to Oberon, delivering the fairy king with effortless charisma and impeccable comic timing. Mary Malone’s Helena is another highlight, combining razor-sharp delivery with brilliant physical comedy to create a character that feels dry, modern and endlessly amusing. The evening, however, belongs to Nadeem Islam's Bottom. His physical comedy is exceptional, every gesture carefully judged for maximum comic effect. As a deaf performer, Islam makes superb use of sign language alongside expressive gesture, demonstrating the power of visual storytelling. One of the night's loudest laughs comes from the line, "He can't hear you," a joke that acknowledges Bottom's deafness with warmth and complete naturalness. It is a perfect example of inclusive theatre that never feels tokenistic, simply allowing the comedy to emerge organically and the actors to shine.
Naomi Dawson's set is simple yet highly effective. The stepped stage evokes a theatre within a theatre, while curtains reveal a woodland "backstage" inhabited by the fairy band, cleverly reinforcing the play's themes of illusion and performance. Maimuna Memon's live score adds another layer of enchantment. While the sound balance occasionally allows the music to overpower the dialogue, the decision to keep the musicians on stage proves inspired. The mystical, folk-infused melodies, often accompanied by Puck's ethereal vocals, create an atmosphere that feels genuinely magical and perfectly suited to the open-air setting.
Above all else, this production is gloriously funny. From gentle chuckles to full-throated laughter, Banerjee understands that A Midsummer Night's Dream works best when its comedy is embraced rather than revered. The text never feels inaccessible, with modern flourishes helping audiences connect without ever compromising Shakespeare's original intentions. It is an inventive, inclusive and hugely entertaining production that reminds us why Shakespeare's most magical comedy continues to cast its spell.
***** Five stars
Reviewed by: Tara Whenray
