(reviewed at the Arts Theatre, Cambridge on 10 August)
This new and updated version of the 1994 RSC production is directed by one of its original devisers Michael McKee. It should by rights be packing out the Cambridge Arts Theatre; the audience at the performance I saw was properly enthusiastic though not particularly numerous.
There are five performers with musical director controlling them from the piano. Anna Stolli has a voice which copes with the coloratura of “The heroine the opera house forgot” (mainly Verdi) and dances Nicola Keen’s sometimes elaborate choreography nimbly. Lizzie Bea contrasts well and puts over her solo sketches with style as well as humour.
Jordan Lee Davies, Alex Morgan and Alex Scott Fairley dance, sing and make the audience share their enjoyment of the wide-ranging variations on the Shakespeare theme from “The man who speaks in anagrams” through “Giving notes” to the curtain speech for Sir in The Dresser.
“Brush up your Shakespeare” is performed as a quintet and there are references to the current battle for the US presidency to make sure that we leave the theatre knowing that Shakespeare is indeed a playwright and poet for all time. After all, you can only make stylishly agreeable fun of someone or something universally recognised as completely secure in his or its eminence.
The Shakespeare Revue continues at the Arts Theatre, Cambridge until 20 August.
(reviewed at the Theatre Royal, Norwich on 26 April)
Erica Whyman’s new production of A Midsummer Night’s Dream, which alighted at Norwich’s Theatre Royal this week as part of its five-month national tour, is part of the Shakespeare quatercentenary celebrations. At each venue, adult amateur actors play the mechanicals (here they are members of Norwich’s own The Common Lot) and children from a local school (Sprowston Community High School) make up the fairy train.
So far, so slightly unusual. Designer Tom Piper takes it all further with a set suggesting the aftermath of Second World War damage and the actors wearing clothes which evoke the 1940s. Interestingly, Oberon’s entourage are actor-musicians (Sam Kenyon is the composer of the sparsely evocative score) led by Tarek Merchant.
In Theseus (Sam Bedford)’s court, Peter Hamilton Dyer stands out as a military Egeus whose desire to force his daughter Hermia ((mercy Ojelade) into marriage with Chris Nyak’s self-satisfied and posturing Demetrius growls with menace. Nyak’s performance is one of the production’s gems, well contrasted by Jack Holden’s softer-keyed Lysander. An equally spiky relationship is that of Laura Harding’s Hippolyta with Bedford.
Laura Riseborough’s Helena looks right for the girl thrown over by Demerius, but – and the women of the cast with two major exceptions are mostly guilty – I had no sense that she really understood what her lines actually meant. That’s not something of which Ayesha Dharker’s sinuous Titania can be accused. Nor Lucy Ellison’s cabaret turn as Puck, all mischief with just a hint of actual wickedness underpinning her relationship with the audience.
Oberons come mainly in two guises; light and dark. Chu Omambala tips slightly towards the dark side – there is malice in his trick on Titania if not in his intervention on behalf of love-lorn Helena. The Common Lot has a Bottom in Owen Evans who practically steals the show from the professionals, though deliciously upstaged in the closing sequence of the play scene by Dan Fridd’s Flute.
Anyone who has ever attempted to direct a student or amateur play will sympathise with Amelia Hursey’s Quince, faced with a leading man who knows better than anyone else what’s needed – and tht he’s the man for the job. Charles Balfour’s lighting, a simple plot for the Athens scenes and subtle shifts of colour and shapes for the woodland interlude with a sunset glow suggesting both an all-encompassing night and the aftermath of devastation.