Review: A MIDSUMMER NIGHT’S DREAM, Shake Festival (Online)

Athens… The Palace of Theseus… I know a bank where the wild thyme blows… Many will recognise these words as those of a certain wordsmith in the 16th century who, despite being around centuries ago, still entertains generations of audiences, inspires directors, performers and creative teams…and occasionally traumatises generations of students!

Developed at The Cut Arts Centre in Halesworth, Suffolk in 2019, the annual Shake Festival brings Shakespeare’s life and words to audiences in the form of workshops, films, talks, music, poetry readings, dance and performances. Since the pandemic struck, the Shake Festival team (led by talented artistic director Jenny Caron Hall) has moved onto an online stage to bring the Bard into people’s homes. Previous online readings have included The Tempest in November 2020, Sonnets & Carols over Christmas, and last night saw an incredible one-off rehearsed reading of A Midsummer Night’s Dream.

It’s almost 7.30 pm on a Wednesday night, hundreds of people are waiting for the start of a performance...In their homes, in front of their screens. A Zoom screen appears, some clicking sounds at the start remind us of the  “3 coups” and director Jenny Caron Hall introduces the evening, mentioning that 18 countries are represented in the audience and explains that choosing this play makes sense as “there is no better place to escape for a couple of hours than the darkling woods outside Athens and the magic of Shakespeare’s poetry.” She then takes on the narrator role during the play, announcing the acts and individual scenes.

And what a Shakespearian night! A wonderful ensemble performance. 

Opening with dual roles, imperial Dan Stevens as Theseus/jealous Oberon and the magnificent Rebecca Hall as Hippolyta/ solemn tender Titania, the Zoom performance unfolds without any issues from start to finish, and works seamlessly well given the cast’s various locations and technical requirements. 

This reading proves that Shakespeare's words are still as powerful and interchangeable than ever, and here an expert director, a brilliantly talented and diverse cast, and well-mastered production team look after that legacy. 

The stage was set on the now-familiar Zoom platform which works effectively, especially at a time when playing opposite one another has never been more intense and difficult. The cast can see each other as the audience sees them, both spectators and actors. As important as the lead roles are, a play only works if the entire cast present a cohesive ensemble and that is totally the case here. Comprised of different personalities, the ensemble succeeds in revealing everyone’s talents and some definitely draw your attention, notably Daniel Bowerbank’s powerful and moving performance as Helena, Màiréad Tyers playing a splendid Hermia, Louis Rudnicki as a sharp Demetrius and Barnaby Taylor as Lysander/Trumpetist.

The “play in a play”, appearing separately and then performing with the whole cast at the end, is a funny enjoyable moment, thanks to Robert Hands’ severe Quince and his group composed of hilariously accented performances; among them being Luisa Omielan who is dazzlingly fun as a comic Bottom, the expressive Tim Fitzhigham as Flute/Thisbe, Joseph Blatchley as Starveling/Moonshine, Ed Hughes as K-Way Lion/Snug and Mark Quartley as a confused Snout/Wall. 

Last but not least, the fantastic Wendy Morgan as Puck seems almost possessed by her mischievous character, spreading fairy dust and dissension to the audience’s delight.

The company’s joy to be performing is discernible to the audience and their talent in the Bard’s verse makes this delightful event even more stunning to watch. 

The production, with sound and tech by Zone One, is suitable for the play’s vision and online format, with an ingenious system of logging on and off depending on their scenes and with their character’s names displayed on their windows. The day is represented by specific coloured clothing and backgrounds, with the royals wearing yellow, the rest of the cast being in white and the lights remaining on. The night brings with it darker clothing and the lights turned off. 

Inside the new challenging world of Zoom and live streamed productions, it is clear that this play focuses on the text and character interactions. This beautiful Shakespeare tribute is marvellously done.

***** Five stars

Reviewed by: Alexia Irene