Curve
16th
August, 2017
‘And this weak and
idle theme,
No more
yielding but a dream’
Nick Winston’s production of A Midsummer Night’s Dream takes ‘dreaming’ to the extreme in this
surreal modern fairy tale. Since Curve opened 9 years ago, their annual community
productions have become a highlight of the local and theatrical calendar, and
their latest offering is no exception.
Utilising a cast of over 60, Winston populates the vast
stage with detail, both human and mythic – a tavern comes to bustling life with
comely wenches, couples dancing, and the occasional brawl, while the play
begins with a brief tableau of the magical wood featuring a menagerie of
legendary creatures, from fairies to centaurs, charmingly establishing the
production’s colourful, storybook aesthetic. Fairy tales are a continual
reference, notably in Kevin Jenkin’s set: a turfed copse features rough-hewn
stone and wild grasses against a backdrop of twisted trees, silhouetted against
an ever-changing sky. The bramble-like snare of the trees reminded me of the
threatening woods in Sleeping Beauty,
an apt comparison, considering the role that sleep and dreams plays in
Shakespeare’s drama.
Edd Lindley’s costumes are intricate and lush, even
in their odd mish-mash of styles. From Game
Of Thrones-esque Medieval garb, to Regency and Edwardian era fashions, the
Athenian world of the Dream never
feels fully grounded in any specific place, as if the whole story could be
told, word-of-mouth, from generation to generation until it loses all sense of
realism. Ironically, the vision of the Fairy world here seems much more
concrete, using a blend of steampunk and hip hop to create a vivid identity for
the magical creatures that neatly separates them from their human counterparts.
Supporting this is a unique and fresh assortment of
music, both of existing songs and Ben Harrison’s original music, from the
ethereally ambient in Oberon (Simon Butler) and Titania’s (Demi Hylands)
scenes, to blasts of dubstep for the mischievous Puck. A beautifully sung
rendition of Norah Jones’ ‘Come Away With Me’ tenderly draws the relationship
between Titania and her fairy helpers, while The Carpenters’ ‘Close To You’ is
given the Bottom treatment in an amusing addition to the text.
Tonally and thematically, Winston’s vision is sweet
natured. Eschewing the darkness and cruelty that seeps into some productions
(I’m recalling in particular the 2016 BBC adaptation in which Theseus is
painted as a fascist dictator – still great, just different), this is a warm,
comforting version, akin to a cosy bedtime story. Hippolyta (Hannah Willars) is
willing, Theseus (Alphonso Christie) is a grounded and benevolent leader, and
Titania and Oberon reunite, hand in hand with the changeling boy they
previously warred over - continuing the fairytale theme, ‘And they all lived
happily ever after’ seems a fitting summation.
As always, I’m astounded at the local talent on
display in Curve’s community productions. Megan Marston is gently engaging as
Hermia, a fine counterpoint to Lauren Jones’ feisty Helena, while the
intriguing decision to dual cast Puck works surprisingly well, Mahesh Parmar
and Joel Fossard-Jones are both individual in performance yet perfectly
synchronised when needs be. Puck’s transcendental abilities here take on a new
significance as the character flits through time and space and his echoing
physicality occupies the very air around the characters. Yet, as is often the
case with Shakespeare’s Dream, the
Mechanicals steal the show with their earthy humour and earnest desire to
please. Alexander Clifford’s Bottom manages to remain immensely likeable
despite the character’s excitable egocentricity, while James Cottis’ Flute
fares well as both Panto Dame and tender actor in the Pyramus and Thisbe scene. I say this time and again, but with these
productions and Curve’s dedication to inclusivity and nurturing of young
talent, it really does feel like we are witnessing the stars of the future.
Winston’s Shakespearean hybrid gets away with being
slightly bonkers by merit of the dreamy, mythical quality it bestows on the
narrative. It was lovely to see the joy on the audiences’ faces come curtain
call. This is Shakespeare at its most accessible and the production revels in
the romance, humour and magic of the Bard’s work.
A Midsummer Night’s
Dream plays at
Curve, Leicester until 20th August.
The company of A Midsummer Night's Dream. Credit: Pamela Raith Photography |