A Review of the Magdalen Players’ A Midsummer Night’s Dream

As far as I am aware it is unheard of for a production to sell out with the speed and limited marketing that this year’s Magdalen play achieved. With this in mind, it was with a sense of anticipation that I arrived at the college. Walking into the President’s garden, the first thing to note was the immersive atmosphere, with the mechanicals moving around you, practicing tricks and watering the garden. There was the slight trepidation that you would be sprayed along with the plants; however, that circumstance was thankfully avoided. Within the outdoor theatre itself, music was playing, and Hippolyta sat upon the stage reading a book. There was the undeniable sense of entering a fantasy realm, escaping from the city and the stresses of university life just for a little while and a hope that the performance lived up to this promising preshow
experience. Simply put, yes it did.

With such an ensemble cast and diverse choice of performance spaces there was the impression that directors Will Shackleton and Freyja Harrison-Wood had thoroughly and completely thought through not only the show itself but also the location. From the natural staging area within the garden, to the possibility of characters appearing from anywhere, the audience were not only immersed within the action, but almost a part of what was taking place. This feeling reached its pinnacle towards the end of the performance where the three wedded couples took their seats amongst the audience to watch the play. Or perhaps even in the use of all of the previously utilised entrances for the curtain call. While the visual spectacle of the play was undeniable, there is always the concern that there would be entrances and certain interactions that members of the audience may miss due to their positioning. This necessary evil was perhaps a little sad, for the performances were so varied and unique that one would not have wanted to miss any of them. While on the topic of performers, the diverse array of fairies and humans were an excellent collective. The mechanicals, of course, deserve a shout out, with Tom Vallely’s Bottom entering upon a bike and proceeding to amuse the audience with his Scouse accent and confident performance of the role. Equally, the lovers brought with them powerful performances, appearing and disappearing from a variety of entrances as they chased each other through the woods. Louis Wilson’s portrayal of Demetrius allowed us an insight into the thoughts of the character even in those moments where he was silent upon the stage. While Eva Stuart’s Helena carried herself strikingly, creating a believability in the character’s desperation.

Existing in parallel to these trials of love, the fantastical elements unfolded just as memorably, the fairies’ costumes being frankly stunning. From the movement of the fairies to the power of both Aravind Ravi and Alice Wyles’ performances as Titania and Oberon there is no denying the magic present in the play. Puck’s cackling is equally worthy of note, the sound adding a motif to the character which often reflected the arrival or departure of the troublemaking imp. The most notable decision within the play was of course the switching of the roles of Titania and Oberon within the narrative, with a homoerotic relationship between Ravi’s Oberon and Vallely’s Bottom unfolding. While this decision could have been a quiet script change, going almost unnoticed to begin with by audience members, the inclusion of an elaborate dance routine to ‘I Put a Spell on You’ made the switch blindly obvious in the best possible way. The bold switching of the characters brought a freshness to the age-old performance, meaning that it wasn’t simply just another garden play Shakespeare. Moreover, the dance routines were outstandingly choreographed and performed, adding a vibrance to the show, particularly when performed in the beautiful pink and purple lighting that lit up the garden as the sun began to set. Said lighting added a feel of a fairy glen to the space, particularly when enhanced by the glow in the dark face paint of the fairies and the small mushrooms circling the cables.

Ultimately this performance was one of visual spectacle, with the immersive atmosphere of the space lending itself to the directorial choices. From the costumes to the lighting to the use of the space, this was a cohesive piece of art that the team should feel immensely proud of. Through the forest we journeyed with these characters, experiencing a heightened sense of the humour of this famous comedy. Every moment that could be exploited for a laugh was utilised, from Lysander’s changing into his pyjamas, right down to Egeus’ backpack and map at the closing of the play. Yet never was the integrity of the performance itself compromised. This was a fresh and memorable night at the theatre that leaves me wondering what both cast and crew will lend their hand to next.

 

Image curtesy of Freddie Houlahan