Review: A Midsummer Night's Dream (Unicorn Theatre)

Review by Ruth Sealey

⭐️⭐️⭐️⭐️ 

A Shakespeare play, created with young audiences in mind, felt like an invitation worth accepting. As both a secondary school teacher and a parent to teenagers, I am always encouraged when theatres actively seek to open their doors to younger generations, finding fresh and imaginative ways to make live performance feel accessible, relevant and exciting and this was the reason that I was keen to experience and review this particular production at the Unicorn Theatre. And what better choice than A Midsummer Night’s Dream? This play is full of mischief, transformation, young love and magic - surely the perfect way to welcome a new generation into the world of Shakespeare and the enchantment of the stage.

This first co-production between the Unicorn Theatre and the Royal Shakespeare Company carries the promise of introducing young audiences to Shakespeare in a way that feels both fresh and faithful. Of course, there is always a risk when editing a play, particularly one as well-known as A Midsummer Night's Dream, that essential elements may be lost along the way. Deciding what to keep and what to leave behind is no small challenge, yet Robin Belfield has allowed the storytelling to flow seamlessly, and it would be difficult to point to anything that felt noticeably absent. Retaining the key moments while preserving the relationships between the characters is no easy feat, but this production handles it skillfully.

Set in Athens, A Midsummer Night’s Dream begins with Hermia being told she must marry Demetrius, despite being in love with Lysander. Determined to follow her heart, the pair escape into the forest. They are soon followed by Helena, who is hopelessly in love with Demetrius, while Demetrius himself pursues Hermia. Confused yet? That’s only the beginning. What unfolds is a mischievous tale of four young lovers whose already tangled relationships are thrown more into confusion when Oberon, King of the Fairies, instructs the playful Puck to use a magical potion that causes people to fall in love with the first person they see. The forest becomes a playground for mistaken identities, misplaced affections, and comic misunderstandings, which is made even more entertaining when a band of amateur actors stumble into the magical mayhem.

Co-directors Rachel Bagshaw and Robin Belfield shape their talented cast with a clear understanding of their target audience. Every word and movement feels carefully considered, creating a production that is both purposeful and engaging. The connection with the audience was particularly striking, something that I don’t experience as often as I might hope. Perhaps it was the presence of so many young people in the audience, visibly hanging on every word and laughing at exactly the right moments, but it served as a powerful reminder of how thoughtful direction can guide a cast to truly hold an audience in the palm of their hand.

The cast share an excellent on-stage dynamic, particularly when the four actors portraying the young lovers take on the secondary roles of the amateur players. Scout Worsley, as Hermia and then as Quince, transitions effortlessly from the passion of young love to the quirky, authoritative leader of the troupe, delivering both roles with remarkable ease and conviction. Her on-stage confrontations with Boni Adeliyi as Helena are a particular highlight, with both actors bringing real energy and conviction to their lines. Meanwhile, Kaireece Denton as Lysander/Snug and Shahin Rezvani as Demetrius/Flute convincingly navigate the tension, conflict, and eventual friendship between their characters.

Amelia Donkor, as Titania/Hippolyta, and Chris Jared, as Oberon/Theseus, bring a steadier, calmer presence to the on-stage chaos. I particularly enjoyed how they mingle with the audience, even taking a seat among us to watch the performance of ‘Pyramus and Thisbe,’ which adds a delightful sense of interaction to the production. Joséphine-Fransilja Brookman as Puck opens the play with an immediate burst of energy, instantly filling the space and drawing the audience into the action. She embodies Puck with just the right touch of mischief, leaving no doubt that you should not trust them entirely and maintains a playful unpredictability that suits the character perfectly.

However, it is Emmy Stonelake, playing both Bottom and Egeus, who absolutely steals the show. Stonelake's comic timing is impeccable, and their physical presence on stage brings an infectious energy that has the audience laughing from start to finish. Bottom, of course, is a character built for comedy, and Stonelake delivers every line with gusto and exuberance. Even a slight moustache mishap was transformed into comedy, seamlessly woven into the action and handled brilliantly by both Stonelake and the other actors.

Designer Lily Arnold has crafted a set that is both simple and imaginative, spanning two levels that adds height and dimension to the stage. Two swinging tyres cleverly double as props for sleeping, fighting, and simply swinging on, while sliding sections of the wings and entrances from multiple angles create a playground-like staging that perfectly complements the lively spirit of the production. Costumes blend modern and traditional elements, with the Mechanicals’ bright boiler suits adding a playful, contemporary touch and the lovers’ simple yet subtly evolving outfits and the striking attire of Hippolyta and Theseus providing clear visual cues for the audience. One minor point is that Bottom’s transformation into a donkey-headed figure was not always immediately clear to the audience, and this is one area where the production might have benefitted from a slightly more visible or exaggerated reveal.

The lighting by Sally Ferguson works in harmony with the sound, composed and designed by Holly Khan, to create moments of real enchantment. The production opens with Puck entering through the audience in darkness, holding a glowing orb. Their call of, “Hello,” is met with an echo of voices, initially indistinguishable from the audience but cleverly pre-recorded. The effect is so convincing that some audience members couldn’t resist joining in themselves, blurring the line between performance and reality.

Huge credit must also go to the Video and Captions Designer, Will Monks, for his stunning effects, which displayed every word spoken by the actors around the stage. I have never seen anything quite like it, and I genuinely hope to experience it again. Seeing the written word, alongside the spoken word, gave each line added weight and clarity, creating a connection between stage and audience while deepening the impact of Shakespeare’s language.

This collaboration has taken one of Shakespeare’s most light-hearted comedies and has resulted in a whirlwind of youthful romance, magical mischief and charm. A Midsummer Night’s Dream is the perfect introduction for those new to Shakespeare, offering laughter, wonder and just enough enchantment to draw a new audience into the magic of theatre.

A Midsummer Night’s Dream plays at the Unicorn Theatre until 10th May. Tickets from https://www.unicorntheatre.com/events/a-midsummer-nights-dream

Photos by Helen Murray