Friday 12 February 2016

A Midsummer Night's Success

   Blurring the boundaries between professional and amateur theatre productions, the entire cast and crew of Far East's 'A Midsummer Nights Dream' have turned one of Shakespeare's masterpieces into one of the most impressive Shakespeare productions I have ever seen. As an avid theatre-goer and performer myself I can recognise just how much it takes to pull off a production as demanding as this, and am in awe of how the students and staff put it together having only one rehearsal a week. In my opinion this production could easily compete with professional companies, if given the publicity it deserves.
  The concept, inspired by 1920's Norfolk creatively uses costume, minimalistic set design and sensational music creations to immerse the audience into a wonderful fairy land. Dawn Finnerty's direction and production gave the Shakespeare classic a contemporary twist drawing in local audience's who gave rave reviews of the show. It is not only remarkable how well the language was projected by each and every character; something that not all professional companies have mastered in their own productions, but also how well the cast convincingly transformed a simple thrust theatre into a variety of settings. To produce a magical fairy kingdom with absolutely no set changes is a challenging task but it was completed with ease by the characterisation of the fairies and lovers.
   The fairy chorus played by Hatty Horscroft, Isla Cornish, Isabella Whitely-Tye, Rachel Sutton, Pippa Stebbings, Nick Davidson and Josh Hinds come together to protect their precious Queen Titania from the dangers of the woods. The imaginative arrangement of the choral song by Rachael Morrison, making use of the talents of Sophia Serazin Podmore and Nathan Mills, combined with the variety of characterisation from the fairies creates a magical ambience that draws in the audience to appreciate the soft lullaby.
   To start at the very beginning we must talk about Theseus and Hippolyta, the charismatic duo Rachel Sutton and Josh Hinds recreate the couple with grace and poise, never once dropping out of their ultimate hierarchy persona. Hippolyta's beauty is something to be admired through all of Athens, something Sutton showed great sensitivity for, entering the stage with such elegance and radiant beauty that it would be impossible not to look at her in admiration. Onto Egeus, played by the ever-versatile Nick Davidson. I believe it is a fair comment to say that abridged Shakespeare plays often lose the build up and development of some characters, but when you have such intuitive actors as Mr Davidson, nothing is lost whatsoever. He builds a clear interpretation of the overprotective Egeus within seconds of his explosive speech. No corners can be cut with Shakespeare, a point proven by Davidson in this performance.
   The two female lovers, Hermia and Helena played by Isabella Tofts and Charlotte Ware, are challenging roles to conquer for any actress. The fickle young hearts and constant changing moods can often detract from the continuity of the company, but these talented young ladies took on the roles with care and creativity: creating two contrasting and intriguing roles. Of course by their side were Lysander and Demetrius played by Robbie Nichols and Ben Would. All four together portrayed infatuation, pity, lust and hatred effortlessly and with such obvious enjoyment. There is not much worse than seeing an actor looking like they wished they were anywhere else, but there was not a gormless expression in sight. Every movement or line was delivered with such energy and remarkable spirit!
   Titania and Oberon are two characters that can often be played with dull and overused characterisation. But what a dream are Josh Duckmanton and Claudia Martinez on stage! How wonderfully the Irish interpretations of the King and Queen bring together the enchanting midsummer setting! Though in the play there is a feud between them, their connection comes across on another level and goes beyond the words within the script. Oberon's nimble sprite named Puck/Robin Goodfellow is portrayed by Phoebe Hagan who brings the character to life with such extreme energy and assurance: the play safely rests in her hands though not so safe in the mischievous hands of Puck!
   This brings us onto The Mechanicals, a comedic group full of good intentions whose performance of Pyramus and Thisby falls into the untrustworthy hands of Puck. Far East's adaptation of The Mechanicals features Mistress Quince played by Laura Finnemore, who is the bright spark of the group, accompanied by Nick Bottom, Frances Flute, Tom Snout, Robin Starveling and Snug played by Nathan Mills, Micah Richmond, Jake Lomax, Daisy Campbell and Bella Whitely-Tie incorporate precise and imaginative choral movements into the simple but effective scenes. Stuff to make any drama teacher proud I'm sure! The Mechanicals get roped into the fairy feud when Puck transforms Nick Bottom into an ass, and what a laugh out loud, hilariously brilliant ass Nathan Mills was. Never have I laughed so much at someone wearing big teeth and floppy donkey ears, and honestly I didn't think I ever would. Being able to watch Mills' confidence as the ass grow not only in rehearsals but throughout the course of the performances was uplifting and motivating to say the least. Definitely a crowd favourite, the way Mills acted a fool not only with his voice and facial expression but with his body, making sure every last detail was perfect, really brought the comedy together.
   I hope that the cast and production team of 'A Midsummer Nights Dream' are proud, for they have put together a marvellously fascinating show. It just goes to show what dedication, hard work and some big fake donkey teeth can do! This play is not one that needed saving, not at all, it needs the recognition, admiration and praise it deserves.

I honestly don't think any of you realise what an amazing show you have created. Congratulations to you all, you are truly fabulous. So enjoy your final performance, live it, go out there 'with pomp, with triumph and with revelling.'

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