It is the hottest day of the year. So, it’s only fitting that this classic, William Shakespeare comedy was broadcast straight into our marginally cooler houses for our entertainment.
This production aimed to spice things up for the 21st Century, but retained the original 16th Century performance condition of having the majority of the audience follow the action on foot – think of it like a 'premium groundlings'. It was immersive theatre for those audience members who weren’t sitting down within the in-the-round space.
Theseus, Duke of Athens, was due to marry Hippolyta, the Amazon Queen. The production opened with a corporate, cold, and controlling kingdom. At the same time, four runaway lovers: Demetrius, Lysander, Hermia, and Helena, looked for sanctuary in the forest near Athens. This was a magical forest with sorcerous inhabitants such as fairies who had all come for the Duke’s wedding. Oberon, the King of the fairies, squabbled with his Queen, Titania, and persuaded his mischievous servant Puck to drop magic juice into her eyes as she slept, in an attempt to punish her. The potion caused anyone to fall hopelessly in love with whatever person or creature they happened to first lay eyes on when they awoke. Of course, the potion ended up being administered to the lovers in the forest and they ended up falling in love with the wrong people and so the Shakespearian complex chaos was instigated. In the same neck of the woods, a local theatre group were rehearsing a play for the Duke’s wedding. However, when one of the cast members called Bottom went missing, would the production of “The Most Lamentable Comedy And Most Cruel Death Of Pyramus And Thisbe”, go ahead?
Sadly, I wasn’t keen on Gwendoline Christie’s portrayal of Titania/Hippolyta. In comparison with the rest of the cast, I felt she exaggerated the parts a little too much (even for Shakespeare). Perhaps, trying to be too authoritative for both roles? On the other hand, Oliver Chris’ performance as Theseus/Oberon was appropriately controlling, and threatening at times, especially as Theseus. It was a well-rounded performance as he showed a more gentle and loving side later in the play too. David Moorst’s Puck was cheeky but loveable. Apparently, he learnt how to perform the aerial choreography on silks especially for this production. Moorst performed the routines fluidly and effortlessly, even when he was speaking the text he kept up the stamina. Hammed Animashaun gave a ground-breaking performance as Bottom; he brilliantly had the audience in the palm of his hand. Animashaun made the role his own.
The design of the mystical and liberating forest was in complete contrast to the palace, by Bunny Christie. The significant design decision, of course, was to have the audience right at the heart of the action; both adhering to the immersive style and forming a unique and dynamic experience. However, it’s a lovely concept that they only just about got away with, in practice. The problem was with the stage lifts and set pieces rising and falling for every scene, the actors having to navigate their way through the audience, and with platforms possessing a small surface area to act on, for the most part it felt constricting, fussy, and impractical. The design team got away with it, ultimately, because of the moments of audience participation such as the audience carousel finish. Then, it had a meaningful purpose. Grant Olding’s musical underscoring wasn’t just limited to scene transitions but was played pretty much throughout. It enhanced the action of the plot and emotional extremities during scenes; recapitulating how the course of true love never runs smoothly.
In addition to the production design breaking the mould, director Nicholas Hytner made innovative artistic decisions in other ways. While exploring the common play text themes of magic, dreams, and mischief, the subject of love’s difficulty was looked at through a contemporary lens. It challenged heteronormative society to include the LGBTQ+ community, endorsing the message that love is love. It was not the Fairy Queen but the Fairy King who seduced Bottom in this production. Featuring current pop music such as, “Bonkers” by Dizzee Rascal and “Love On Top” by Beyoncé made the show uplifting and the play, accessible. Casting a wonderfully diverse ensemble meant the audience were hearing Shakespeare being spoken and performed in a new way. Breaking tradition. Very good.
Reviewer - Sam Lowe
on - 26/6/20
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