Tag Archives: Rebecca Lee

A Midsummer Night’s Dream – 4 Stars

Watermill

A Midsummer Night’s Dream

Watermill Theatre

Reviewed – 14th May 2018

★★★★

“Artistic Director Paul Hart and his youthful players have magnificently overcome the twin risks of over-familiarity and complacency in this joyful new production”

 

Buried deep in the English countryside is a little theatre that consistently beguiles. The 200-seat Watermill just outside Newbury stages its own plays twelve times each year. Casts live together throughout every production and shows are marked by both excellent ensemble work and by high levels of creativity and innovation.

But how to shine new light on Shakespeare’s A Midsummer Night’s Dream? ‘I know a bank where the wild thyme blows, Where oxlips and the nodding violet grows’. And so do we all, for the play is a favourite of almost every outdoor theatre season, consistently ranking in the top three of all the Bard’s thirty seven plays. We love to laugh again (and again) at the play within a play, with its hackneyed ‘rude mechanicals’, two fingers held up to make another chink in the wall.

Watermill Artistic Director Paul Hart and his youthful players have magnificently overcome the twin risks of over-familiarity and complacency in this joyful new production. Appropriately enough for a play about make-believe, the show opens with a shadowy view of theatre fly ropes, part of a stage design by Kate Lias. Rope tricks of various kinds help make the magic in this celebratory show which also has a strong commitment to diversity.

Sign language is an integral part of the production, since the cast includes a co-founder of the Deaf & Hearing Theatre Company in a speaking role. Sophie Stone’s partially signed scenes with Evening Standard award winning Tyrone Huntley are delightful, the signing very much enhancing the show. As well as being a witty and persuasive actor, Tyrone Huntley has a fine singing voice. Singing and signing also combine in a moving ensemble number after the interval.

There’s more magic in the mix when shadow play begins behind a spangly red curtain that descends rapidly to transform the enchanted wood into a nightclub. It’s a good setting for some witty musical interpolations. Is this the first Midsummer Night’s Dream to feature Rodgers and Hart’s ‘Blue Moon’? In other scenes the always engaging Eva Feiler as Puck cleverly works dolls to underline the point that we are witnessing a dream time, engineered by otherworldly creatures for their own amusement.

Victoria Blunt was brilliant as Bottom, switching from broad Lancashire to a booming Gielgud parody as the most thespish of the ‘rude mechanicals’ who finally get to perform their play within a play right at the end of the show.

As Oberon, ‘King of Shadows’ Jamie Satterthwaite seemed at first a little too insubstantial for the patriarchal world of Athens where a father let alone a king of the fairies ‘should be as a god’ but he gained authority as the evening went on.
Some careful cuts and rearrangements are characteristic of the close reading that’s evidently gone into a show that quite bursts with ideas. The night this reviewer saw it, Emma McDonald’s role as Titania was magnificently covered at very short notice by Rebecca Lee. She appeared to be all but word-perfect, with a vampish authority that was most engaging. Her substitution may have understandably explained a slightly hectic breathlessness that characterised more than one scene in the performance I saw.

The show ends in a magnificently farcical version of ‘Pyramus & Thisbe’, the play within. Talented Offue Okegbe doubles Snout and Theseus, as well as playing an instrument, like many other cast members. His ‘wall’ is much too funny a surprise to spoil in this review. Joey Hickman was an owlish Demetrius as well as the show’s musical director.

But for a bizarrely unexpected flash of light across the crowd, Tom White’s lighting design was highly effective, particularly so in the final scene ‘If we shadows have offended, Think but this, and all is mended, That you have but slumbered here While these visions did appear.’

On press night, a good part of the audience came whooping to its feet at the end of this big-hearted and dazzling show. Cast and a large supporting crew, including magic, movement and BSL advisers, all deserve huge congratulation for their contributions to such a delightful Dream.

 

Reviewed by David Woodward

Photography by Scott Rylander

 


A Midsummer Night’s Dream

Watermill Theatre until 16th June

 

Related
Previously reviewed at this venue
Teddy | ★★★★★ | January 2018
The Rivals | ★★★★★ | March 2018
Burke & Hare | ★★★★ | April 2018

 

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Dance

The Dance Hall

Blue Elephant Theatre

Reviewed – 1st November 2017

⭐️⭐️⭐️ 1/2

 

“It is a beautiful story that many can relate to”

 

Written, produced and directed by Eve Niker, The Dance Hall is a delightful, intimate story about a family going through the sad and difficult period that the loss of a someone beloved always causes. 

We see how Jimmy (Jeremy Drakes), an Irish father and grandfather who emigrated to England in his youth, is hurting and fighting the loss of the love of his life, Annie (Rebecca Lee). Theresa (Dorothy Cotter) and Grace (Tania Amsel), Jimmy’s daughter and granddaughter, briefly attempt to reconnect with him after Annie dies but he is a very stubborn man still adapting to life on his own.

The actors worked well, making the audience connect fully with the story from the beginning to the end. Their dancing and singing were well suited to the play and delicately performed.

The live violin and guitar music together with the subtle lighting created an environment of both warmth and coldness at the same time reflecting Jimmy’s ongoing journey from dependence to independence. The Dance Hall is presented as a work in progress so the set and costume design are minimal which in a way works well. It would be interesting to see how a developed set in the future works and whether this would perhaps take away from the raw emotions of the piece.

Generally, the play is a good watch but some of the scenes are a little slow. It is a beautiful story that many can relate to that deals with love, loneliness, loss and learning how to cope. Presented in such a small but cosy venue only adds to the intimacy of the piece. It will be interesting to see how the show is developed in the future. An enjoyable experience well worth seeing.

 

Reviewed for thespyinthestalls.com

 

 

THE DANCE HALL

is at The Blue Elephant Theatre until 2nd November

 

 

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