reviewed at the Cambridge Arts Theatre on 5 June
Deconstructed Shakespeare. There’s been a lot of it about, possibly as a reaction to the bardolatry of the quatercentenary. From the Lyric Theatre in Hammersmith and Filter Theatre comes Sean Holmes’ addition to this new canon.
How much you enjoy this Midsummer Night’s Dream overall, I suspect, is largely up to your appetite for transposed stand-up comedy and popular cult-figure spoofing leavened with elements of the traditional pantomime.
There’s a band (music by Chris Branch and Tom Haines), modern costuming and a set which suggests a dilapidated rehearsal-room (Hyemi Shin). Not to mention “audience interchange”, both planted and spontaneous.
Some of the glosses on the central story work very well. Bombastic Theseus has his mirror image in Oberon’s unsuccessful attempts to be Superman. Dogmatic Egeus (here Hermia’s mother rather than her father) transforms into an occasionally fallible stage-management Puck.
Bottom (that “audience plant” I mentioned) transforms into an ass straight out of Apuleius’ Metamorphoses by sound and gesture rather than an animal mask. Hippolyta, so buttoned-up as Theseus’ bridal trophy, transforms into a sex-hungry diva as Titania.
The close girlish affection between Hermia and Helena dissolves credibly into bitchy squabbling and carpenter Peter Quince, bossy impressario for the craftsmen, is a natural double of the compère who greets us then gravitates automatically to any available microphone.
As performers, you cannot fault the cast, including the versatile musicians. They all throw themselves (frequently quite literally) into everything required of them. The sense of undergraduate spontaneity carries absolute conviction. It works on its own terms, but on a “love it or hate it” basis.
Three and a half-star rating.
A Midsummer Night’s Dream runs at the Cambridge Arts Theatre until 9 June with matinées on 7 and 9 June.