Tag Archives: Sundeep Saini

A MIDSUMMER NIGHT'S DREAM

A Midsummer Night’s Dream

★★★

The Maltings Theatre

A MIDSUMMER NIGHT'S DREAM

A Midsummer Night’s Dream

The Maltings Theatre – Roman Theatre of Verulamium

Reviewed – 26th May 2022

★★★

 

“It isn’t strictly Shakespeare but it’s a fine evening’s entertainment”

 

The English summer outdoor theatrical season is amongst us and there can be few sites more delightful for enjoying an evening’s entertainment than the Roman Theatre of Verulamium (St Albans). The stage is beautifully lit (Mattis Larsen) in reds and blues as the evening draws in, and head mics are worn by all performers (sound by Michael Bird) that removes the necessary but sometimes irritating shoutiness of outdoor projection. A Midsummer Night’s Dream is, for obvious reasons, a summer favourite and there is a huge amount of fun to be had in this production directed by Adam Nichols and Matt Strachan – including an opportunity for a legitimate stage invasion – but this is not one for a Shakespeare purist. With a large percentage of the original dialogue paraphrased into modern(-ish) language, and much of the plot condensed and developed, it is surprising that there is no ‘adapted by’ credit which is surely merited.

The action is initially set within the confines of a Blackburn working man’s club of the 1970s, with references to closing mills and striking miners, and with the locals sporting dodgy facial hair and Lancashire accents to reinforce the period feel. The style of the production is set as Lysander serenades Hermia with some verses of the Bay City Rollers’ hit Bye, Bye Baby and the audience is encouraged to join in. The dialogue, mixing the Shakespearean with the vernacular, goes along the lines of, “Stand forth Demetrius, cum ‘ere lad”.

A gender-ambiguous Puck (Guido Garcia Lueches) is barely dressed in a low-cut singlet, the shortest of shorts and the highest of platform boots (Costumes Emma Lyth) – half Eurovision, half Eurotrash. Leaving the club singing Abba’s Gimme Gimme Gimme (A Man after Midnight), Puck draws the locals into an imaginary Disco Land where the fairy magic is to take place. Verses of pop song are interspersed with spoken Shakespearean text whilst the would-be young lovers show us their moves (Choreography Sundeep Saini).

Lyle Fulton plays a rather pathetic but ultimately endearing Lysander who with a guitar in hand and a song for every occasion wins us over by his appealing nature. Emilia Harrild is a feisty Hermia – little but fierce – who endures the worst insult when described as a “Yorkshire teabag”. Charlie Clee plays Demetrius inexplicably as a sullen and rather unattractive suitor; an approach which is explained by a striking late plot twist. Eloise Westwood as the naive Helena provides the performance of the evening. Even before her moving last solo song, her star quality shines out amidst the pantomime going on around her.

In the traditional manner, the roles of Theseus (Ben Whitehead) and Hippolyta (Emma Wright) are doubled with those of Oberon and Titania. Emma Wright shows her stage versatility with an impressive transformation from down-trodden housewife to spectacular dancing queen. I can’t relax into Oberon’s “luurrv” style of delivery but many around me enjoy his fairy meddling, “Get ready to party, and don’t Puck it up”.

In the most radical change of the production, the hempen homespun have ambitions to become a pop band rather than to stage a play, so Pyramus and Thisbe does not get an airing. They are transformed into disco fairies and Bottom (Daniel Hall) becomes a Saturday Night Fever dance icon (white suit, gold medallion, black quiff) rather than the traditional ass.

In the final scene, back in the club, the band The Mechanicals perform a non-stop 70s megamix medley (Musical Director Tom Cagnoni) and the full cast dance out the night. It isn’t strictly Shakespeare but it’s a fine evening’s entertainment in the open air.

 

Reviewed by Phillip Money

Photography by Elliott Franks

 


A Midsummer Night’s Dream

The Maltings Theatre – Roman Theatre of Verulamium until 11th June

 

Previously reviewed at this venue:
Vinegar Tom | ★★★ | October 2021
Hedda Gabler | ★★★ | November 2021

 

Click here to see our most recent reviews

 

As You Like It

As You Like It

★★★★

Queen’s Theatre Hornchurch

As You Like It

As You Like It

Queen’s Theatre Hornchurch

Reviewed – 25th August 2019

★★★★

 

“Her witty modern-day lyrics are reminiscent of the work of Lin-Manuel Miranda”

 

“All the world’s a stage, and all the men and women merely players”. Those immortal words the Bard penned in his rustic comedy, As You Like It, seem as true as ever in this recent musical adaptation of the play which makes its European debut. Produced by Queen’s Theatre Hornchurch in partnership with the National Theatre’s Public Acts, a national initiative to make inclusive, community theatre, it brings a one hundred-strong cast from all walks of life together to create this vibrant version which is unlike any other production of As You Like It you will have seen.

In a condensed telling of Shakespeare’s tale we find Duke Senior (Rohan Reckord) has been banished from the court by his brother Duke Frederick (Curtis Young), finding solace and a new home within the Forest of Arden, where many of his supporters begin to converge and take commune. In paranoid rage, Duke Frederick lashes out at anyone that threatens his authority, including his niece, Rosalind (Ebony Jonelle), who is exiled. Taking on a male disguise, she similarly flees to the Forest of Arden bringing in tow her cousin Celia (Marjorie Agwang), and the trusty clown Touchstone (Vedi Roy). However, before her banishment, Rosalind falls head over heels in love with Orlando (Linford Johnson) whom she must conceal her true emotions from when their paths cross again in the forest.

The original songs that interject this adaptation, help to flesh the characters out further, giving their actions and motives more depth. Composed by American Shaina Taub, she is certainly a name to listen out for in the future. Her witty modern-day lyrics are reminiscent of the work of Lin-Manuel Miranda and help to give a nearly 400-year old story a current relevance.

This may be a community project, but by and large the main characters are played by trained actors. Stand outs include the incredibly watchable Ebony Jonelle who offers a vivacious Rosalind, whilst Vedi Roy as Touchstone delivers the sassiest clown in town. Rohan Reckord has such a smooth voice it will undoubtedly give you goosebumps when he sings.

Nevertheless, it is the amalgamation between the trained actor and the ‘average Joe’ that really is something special, proving that a passion for theatre is what truly wins out and that anybody has a right and the capability to perform on stage. During the colossal group scenes, it is nigh impossible to not feel moved seeing a broad range of people of all ages, abilities, cultures, and backgrounds coming together. The sheer joy that beams from the stage is infectious. The carnival-like atmosphere and colourful costumes (Hayley Grindle and Daisy Blower) make it a party you never want to leave.

 

Reviewed by Phoebe Cole

Photography by Camilla Greenwell

 


As You Like It

Queen’s Theatre Hornchurch until 27th August

 

Previously reviewed at this venue:
Rope | ★★★★ | February 2018
The Game of Love and Chai | ★★★ | April 2018
Priscilla, Queen of the Desert | ★★★ | May 2018
Abi | ★★★★ | September 2018
Abigail’s Party | ★★★½ | September 2018
Once | ★★★★★ | October 2018
Haunting Julia | ★★ | November 2018

 

Click here to see our most recent reviews