Writer: William Shakespeare
Director: Gavin McAlinden
This production is billed as ‘a new version’ of A Midsummer Night’s Dream, but there is little novelty in either the script (an unobjectionable abridgement by director Gavin McAlinden) or artistic concept. The name of McAlinden’s company, The Acting Gymnasium, might suggest we’re in for a strongly physical re-imagining of the play. But this is not to be. The early scenes in particular are strangely wooden with cast members standing around in a circle and delivering their lines to no one in particular.
Admittedly later on there will be noisy party scenes, but this is not a production that throws new light on the play. The set is particularly woeful, consisting of three bean bags and a wobbly tent with no apparent function – although the moment when it accidentally fell flat on the stage provided some unexpected drama.
The cast has the merit of being diverse, but in terms of acting the standard is extremely uneven. There are lively portrayals of two of the mechanicals – Michael Claff, McAlinden’s go-to actor, is an engaging Bottom and is well supported by Andrew Carn’s lively Peter Quince. Apple Lipman as Puck has stylish and energetic moves but at times seems to try too hard. Lisa Kersuck as Titania overdoes the erotic moves on first Oberon and then Bottom which makes for uncomfortable viewing and suggests directorial rather than actorly misjudgement. We don’t see nearly enough of the real anger that Shakespeare gives her, and which, he suggests, is responsible for a sort of disastrous climate change: constant rain rotting the corn, leaving the sheep fold standing ‘empty in the drowned field’.
Jessica Olim as Hermia is the stand out member of the four lovers, delivering her lines with charm, conviction and power. But too many of the rest of the cast seem unable to enunciate and, even more importantly, to project their voices, so that a high proportion of lines are inaudible. Elsewhere they go to the other extreme, being required to shout, scream or bawl with helpless laughter at an uncomfortably high volumes, frequently drowning out others’ lines.
The programme is coy about the professional acting credentials of the cast. One must reluctantly conclude that several of its members have little if any experience. It is an unkind decision to present them in public. Overall, this A Midsummer Night’s Dream seems to be an amateur production with non-professional creatives and it’s surprising that they asked to be reviewed alongside professional shows.
Runs until 11 June 2022
