A Midsummer Night’s Dream – Shakespeare North Playhouse, Prescot

Writer: William Shakespeare 

Director: Holly Race Roughan

This modernised retelling of A Midsummer Night’s Dream leans into the dark themes of one of Shakespeare’s most famous comedies. Unafraid to take the beloved whimsical classic down a nightmarish route, the production packs a punch that is daring, bold, and chilling.

The play follows four young lovers and six servants as they flee their noble estate for the night to an enchanted wood. They are unknowingly entangled in an argument between the king and queen of the fairies. When a love spell gone wrong rearranges the romantic interests of the group, there is no telling what effects it will have come morning.

The production focuses heavily on the dramatic and dark undercurrents of Shakespeare’s plot. While the notes of comedy are well executed, it is obvious that they are not the primary focus; audience members should not expect a laugh-out-loud, lighthearted romp. Instead, the play highlights the discord, arguments, and fractures that love can bring. It explores themes of jealousy and the human tendency to turn against one another when unaware of the greater forces at play—a thought-provoking subject for the modern day.

Overall, the production maintains a vivid sense of unease, which serves as a testament to the cast, lighting, sound, creatives, and staging. Visually, harsh contrasts provide a bold, impactful look. A black-and-white palette often makes the show appear as though viewed through a filter, an effect particularly evident in the costuming and makeup. This is best seen in the character of Puck, played by Sergo Vares, who wears white from the waist down—including a tutu, tights, and ballet slippers—paired with a black orchestral conductor’s jacket. The costuming leans into androgyny, giving a modern, genderless spin to the characters.

An enchanting ballet motif represents the magical beings throughout the performance. Dainty ballet costumes and elegant movements bring the fairies to life, their fragility standing out against the mostly bold and blackened scenery. These ethereal dance interludes are difficult to look away from.

While some interjections of modern pop music feel distracting rather than additive, the production is of such high quality that it remains largely unscathed. The use of pop music seems to pander to a younger audience, which feels slightly confusing for a show that is otherwise unapologetically alternative and daring.

The age rating of 12+ is necessary, as certain scenes depict sex and drugs. These moments are not gratuitous; instead, they contribute to the world-building and introduce high stakes from a present-day youth culture perspective. Danny Kirrane, as Nick Bottom, adds to this element with a modern, “bloke-type” comedic delivery. His natural timing consistently earns laughs from the audience. Although some lines deviate from the script for comedic effect, they blend well into the show and increase audience interactivity.

The entire cast speaks with a fluidity and modern delivery that ensures the plot remains easy to follow, making this an excellent production for early Shakespeare enthusiasts. The in-the-round staging feels dynamic and authentic to traditional performance styles, ensuring every angle offers a great view. Despite the small performance area, the production utilises every inch of space for dance and chase scenes, making the theatre feel large and open. Consequently, the absence of permanent set pieces goes almost unnoticed.

The only area where the staging lacks is in the transformation of Bottom into a donkey. For one of the play’s most famous elements, the transformation is forgettable. The decision to indicate the change only through cloven black heeled boots fails to make the character feel truly transformed, a feeling exacerbated by the fact that the character does not act like an animal. Although the subsequent scenes between Titania and Bottom remain engaging, the creative choice to minimise this element misses the mark.

This dark production of A Midsummer Night’s Dream is an enthralling watch—a wondrously well-orchestrated dance with only a few missteps. While first-time Shakespeare viewers might find the tone challenging, the natural line delivery and modern reimagining remain very accessible. This twisted version steps away from the dainty and delicate interpretations of the past in favour of a gothic and unapologetically alternative spectacle.

Runs until 7 February 2026