Review: A MIDSUMMER NIGHT'S DREAM - Leeds Playhouse (18/02/26)

Headlong Theatre present profoundly unsettling interpretation of Shakespeare classic

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It is no mystery why this most charming and eccentric of tales has remained one of Shakespeare’s most beloved plays throughout the centuries, from his farfetched naming of characters to the various fantastical elements dotted throughout, it really is no wonder why it has stood the test of time to become one of his most staged and interpreted works. Even in spite of all this though, we are still always finding new ways of seeing this work reimagined, with varying degrees of creative license taken; it is unlikely, though, that there have been many iterations that have proven quite so unashamedly disturbing as the approach taken by this latest exponent of Headlong, in collaboration with Shakespeare's Globe and the Bristol Old Vic.

We surely all know the story by now, four Athenians are manipulated by fairies in a magical forest whilst in a dream-like trance induced by Puck, the central, highly mischievous fairy character who serves Oberon, king of the fairies. It is a play which explores the unpredictability associated with love and all its foibles, and the chaos that ensues following the entrancement of Lysander and Demetrius is presented rather brilliantly, though in rather a more menacing manner than we are perhaps used to. Headlong artistic director Holly Race Roughan has evident clarity of how this iteration is to be executed, and is unyielding in staging this darker, more brooding vision for the work. The question is did this bold new direction take away from the play's typically magical, whimsical nature? The answer, sadly, is a firm yes.

Hedydd Dylan, Tiwa Lade and David Olaniregun (credit: Helen Murray)

There is a classical yet clinical aesthetic to Max Johns' set design, as we are initially presented with a rather grandiose dinner party hosted by Theseus; there is a sense grandeur that contrasts quite marvellously with the inherent animalism of Puck's hedonistic machinations. What this bright, white backdrop also does very well is facilitate Joshie Harriette's lighting design to stand out, and combined with Nicola T. Chang's compositions and sound design, provide clear, discernible markers as to where we are, whether we're awake or still in a trance. In lieu of the usual feeling of whimsy and wonder though, one couldn't help but feel slightly uncomfortable at Roughan's unconventional take on this classic.

There is certainly a good amount of humour, both physical and verbal, for which the cast must be applauded when it comes to comic timing and delivery. In particular Sergo Vares as Puck was a major highlight, he drifts in and out of the action effortlessly, and delivers boundless character and enigmatic intrigue, as he masterfully pulls the strings of our quartet of lovers. Danny Kirrane as Bottom also had terrific presence about him, as he delivered the often tricky Shakespearean text with great power and clarity. I was however left slightly disappointed by the minimalistic nature of his transformation, as the iconic ears often donned by the character were nowhere to be seen.

The company of "A Midsummer Night's Dream" (credit: Helen Murray)

Much of the costume design was well enough executed, it just lacked impact for the most part, though any scenes featuring ballet dancers were always hugely engaging, especially during Malik Nashad Sharpe's beautifully choreographed, albeit slightly out of place, sequence in the second act, performed magnificently by Dannie Harris. In fact every member of this cast, from the leads down to the ensemble, gave solid accounts of themselves, and just about sold this interpretation. The main shortcoming that had me puzzled was the climax, during which we ended up descending into the realms of tragedy, and whilst this may well have fit the brief Roughan had set, it isn't typically what one thinks of when it comes to this particular play.

I often say that interpreting Shakespeare for the modern audience is one of the greatest challenges in modern theatre, directors are always scrambling to come up with the latest ideas to bring these centuries-old works into the modern era, and I feel like this staging epitomises both sides of the divide. Headlong took a more unconventional approach, for which they must be applauded, most notably when it comes to the eeriness of atmosphere they manage to achieve, it just didn't necessarily work in the context of A Midsummer Night's Dream.

★★★☆☆ (3*)

"A Midsummer Night's Dream" runs at Leeds Playhouse until the 28th of February (tickets)

{PR/Gifted Tickets}