Review: A Midsummer Night’s Dream, The Space  

With so many Dreams on offer in London and beyond over the summer season it can be hard to choose from a crowded marketplace. This production from new company Shakespeers delivers an impressive amount of charm, intensity, and intimacy. A major goal for this young and dynamic team is inclusivity, and they have succeeded in making the audience feel at home from the moment they enter the auditorium. The cast welcome the public into what looks and sounds like a student house party. The experience of watching the show is a bit like spending two hours in the company of friends, who are a little bit wasted, and also happen to be talented actors who speak fluent Shakespeare. 

For those unfamiliar with A Midsummer Night’s Dream, it features a crazy collision between humans and fairy spirits in an enchanted forest. In the human world, members of an upper-class Athenian family argue about who will marry who, and a group of tradesmen plan an amateur theatre show for the upcoming wedding. In the spirit world a jealous king of the fairies, Oberon, plots to teach his inattentive wife, Titania, a lesson. Thanks to the interference of mischievous Puck humans and fairies fall in love with the wrong partners, leading to some very chaotic and funny situations. 

The text has been shortened to two hours with no obvious loss of story, making it more palatable to younger audiences with shorter attention-spans, and older ones who appreciate an earlier finish. The pace of storytelling is rapid but smooth, not rushed. The ensemble delivers the plots and subplots seamlessly with sharp and beautifully choreographed direction from the company’s founder Sarah Tresillian.  

There are no bad or mediocre players. With such a small cast most are on stage all the time, with several playing multiple characters. Jordan Matthew plays Titania with grace and sensitivity rather than overly comedic (which can sometimes happen with a male actor in the role), injecting tenderness and affection into her affair with Bottom the Weaver instead of just crude hilarity. Caroline Kane is a strident and self-assured Lysander, and both she and wife-to-be Hermia, played by Tess Hermann, have a certain dynamic energy that becomes especially athletic when they trade insults. Jay Sweeney shines as Bottom, over-confident clown oblivious to his transformation into a donkey, happily compliant to his seduction by Titania, and self-appointed scene stealer of the amateur dramatics. Gabriel Harris is a clever and commanding Puck, and the entire company delivers subtle comedic timing that avoids becoming slapstick.  

The production makes the most of the intimate space that the former Presbyterian church provides. Luckily there are no pews to lock the audience in and the show is delivered mostly in the round. A columned alcove chancel reminds us that we are in ancient Greece and frames the action, at times carefully placing the performers to create a romantic sumptuous romantic painting effect.  

This show is a great route into Shakespeare for younger or new audiences, and it will also delight those who have seen it many times before. The performers make sitting through two hours of Shakespeare feel like a treat. We left the theatre feeling enchanted, entertained, and energised.  

Company: Shakespeers  
Director: Sarah Tresillian  
Producer: Lindsay Menzies 
Stage Manager/Sound Designer: Harri Compton 
LX Designer: Trekessa Austin  

A Midsummer Night’s Dream runs at The Space until Saturday 6 July.