Theatre Review A Midsummer’s Night’s Dream The Unicorn Theatre, London

I knew this was going to be exciting, and the audience were already buzzing before the show began. All seats were fully booked and there was a lot of shuffling to fit everyone in. There’s something about arriving at The Unicorn Theatre that feels ideal for a piece of Shakespeare aimed at younger audiences. Perhaps it’s the knowledge that his beloved Globe is only a stone’s throw away along the South Bank of the Thames, or perhaps it’s the sense that this part of London has storytelling woven into its pavements. Either way, it felt like a fitting place to host a children’s version of A Midsummer Night’s Dream, and the anticipation suggested that many others felt the same.

Before the performance started, it was difficult to predict how the production would interpret or frame the play. The stage, at first glance, was almost stark: a simple, bland set with only two tyres suspended from ropes. It gave nothing away. Yet this minimalism turned out to be a clever misdirection, because once the show began, the lighting, visuals, and video design transformed the space entirely. Scene by scene, the atmosphere shifted with remarkable fluidity. A particular nod must go to Sally Ferguson, the lighting director, whose work was superb throughout. The varied scenes, some bathed in shifting greens and shadows for the forest, felt alive and enchanted without ever overwhelming the young audience.

One of the most striking early moments was the use of young voices echoing through the theatre, their words projected as part of the scenery in vivid green. It created an immediate sense of magic and mystery, and it also grounded the production firmly in a child’s world. 

Will Monks, the Video and Captions Designer, deserves real praise here. His integration of text, imagery, and movement was not only visually engaging but also deeply thoughtful. The Unicorn has always played to a diverse and multi-needs audience, and today’s performance demonstrated that commitment beautifully. What really stood out was how the speech was displayed as part of the scenery, making the show accessible for the hard of hearing. It wasn’t an afterthought; it was woven into the design in a way that felt organic and respectful. The show is aimed at children aged seven and above, though I sensed that some in the audience were even younger. At one point, a small voice called out, “Why is this so long?” which, while unintentionally funny, was also a reminder that ninety minutes without an interval can be a stretch for very young children. For most adults, it’s perfectly manageable, but younger audience members do sometimes struggle to maintain focus for that length of time.

There were several standout performances. Josephine-Fransilja Brookman’s Puck was mysterious, ethereal, and captivating. Her fairy-like presence threaded through the entire evening, and whether her movements were choreographed or simply part of her natural physicality, she often seemed to float rather than walk. Amelia Donkor, playing both Titania and Hippolyta, brought a regal stillness to the stage, embodying the kind of Shakespearean authority that anchors the more chaotic elements of the story. Chris Jared, as Oberon and Theseus, offered a strong, commanding presence that helped carry the play’s emotional weight.

However, I didn’t feel that the fairies of the forest were quite as mischievous as Shakespeare intended. This adaptation leaned more heavily into the comedic energy of the players — Quince, Flute, Snug, and Bottom — who were each dressed in a single, bold colour, making them instantly recognisable whenever they appeared. Kaireece Denton, Shahin Rezvani, Boni Adeliyi, Emmy Stonelake, and Scout Worsley took on these roles while also doubling as Lysander, Demetrius, Starveling, Helena, Egeus, and Hermia. Their performances had the rhythm of a well-rehearsed comedy troupe, clearly aimed at drawing laughter from the children. Emmy Stonelake carried much of the humour, injecting lightness into the script whenever the energy dipped.

By the end, the audience responded with warm applause and clear appreciation. This adaptation by Robin Belfield, co-directed with Rachel Bagshaw, offers a fresh perspective designed to draw children into Shakespeare’s world while still keeping the essence of the Bard intact. It may not satisfy those with a deep affinity to the original, but it succeeds in opening the Shakespearean door for young audiences — and that, in itself, is a worthy achievement.

Runs from 21st March – 10th May.

Reviewer - Penny Curran

On - 1st April 2026