A Midsummer Night's Dream
Thu, 12 May 2011, 08:51 amGordon the Optom1 post in thread
A Midsummer Night's Dream
Thu, 12 May 2011, 08:51 am‘A Midsummer Night's Dream’ was written in 1595 as an original piece of light entertainment for a real wedding celebration, it is now possibly Shakespeare’s most popular and best loved play. This colourful and exquisite production by Black Swan State Theatre Company is staged in the new Heath Ledger Theatre, in the State Theatre Centre of WA, 182 William Street, Perth. This two and a half hour comedy starts at 7.30 pm.
The Duke of Athens (Myles Pollard) is preparing for his marriage to Hippolyta, Queen of the Amazons (Shubhadra Young), which is to take place under the midsummer new moon. The wedding planner, Philostrate (Stuart Halusz), has been instructed to provide a celebration play. Several local hacks, led by Peter Quince (Michael Loney), agree to write and produce this revelry.
Meanwhile, one of the Duke’s courtiers, Egeus (Kelton Pell), has promised his daughter Hermia (Adriane Daff) to his choice of husband, Demetrius (James Beck). However Hermia has fallen for Lysander (Scott Sheridan). Convinced that Lysander has a spell over her, the courtier begs Theseus, the Duke of Athens, to order Hermia to be more obedient, as according to Athenian law, if she does not obey her father she may be put to death or spend the rest of her life in a nunnery.
Hermia still does not agree to her father’s demands, so Lysander and she flee rapidly to the nearby forest. Before leaving Athens, Hermia confides their destination to her best friend Helena (Elizabeth Blackmore), who is still desperately in love with Demetrius. Even though he jilted her, Helena still wishes to win him back. Demetrius learns of the lovers’ escape and follows Hermia into the woods to claim her back.
Bottom (Luke Hewitt) and his fellow craftsmen are in the woods rehearsing their play, ‘the Myth of Pyramus and Thisbe (Sam Longley)’.
Deeper in the forest, the fairies that have arrived to bless Theseus’s wedding are gathering. Oberon (Kenneth Ransom), the King of the Fairies, and his Queen, Titania (Alison van Reeken), are quarrelling over their Indian changeling. Their fairies, peasblossom, cobweb and mustardseed (Natalie Holmwood, Arielle Gray and Shubhadra Young) look after their wishes and help Puck.
Oberon overhears Helena and Demetrius arguing and sends his mischievous servant, Puck – Robin Goodfellow (Stuart Halusz), to collect certain flowers necessary to make a love potion. A concoction to be squeezed into the eyes of a sleeping person, who, upon their waking, this magic sap will make that person fall in love with the first being that is seen. However, Puck was meant to put some drops on Demetrius' eyes, but in error instils them in the sleeping eyes of Lysander.
The play rehearsals in the wood stagger on, with Snug (Benj D’Addario) scared of being a cruel lion, Moonshine (Brendan Hanson) only managing to find a rusty lamp to ‘fill the world’ with light and poor Tom Snout (Kelton Pell) having to play a brick wall.
Mayhem ensues, but as always with Shakespeare reconciliation is not far away.
The director, Kate Cherry, has chosen her cast carefully to cover the different genres within the play. The whole script is filled with contradictions and opposites, both in the story and the characters. In this production, the lovers are superbly focused, conveying an unsullied innocence, whereas the band of ‘rude mechanicals’ in ‘the play within a play’ are wonderfully bungling fun makers to the extreme. With the aid of assistant director, Jeffrey Jay Fowler, the directors have given this well-known play an exceptionally fresh and new appeal, producing a pleasant lift for even the most ardent and critical Shakespearean audience member.
The cast has some of Perth’s finest actors, who have been directed with imagination and skill, thus performing at their very best. Without exception. A special mention for Luke Hewitt, last year’s Equity winner, who as Bottom was magnificent.
The directors found all the hidden meanings and double entendres in the play, and had their team toil hard to squeeze out all of the amusement from the script. The result? This is easily the best production of ‘A Midsummer’ that you will have ever seen. The humour never stopped, the tears were rolling down my cheeks. Even the Hermia / Helena confrontation was typical of a Northbridge cat fight.
Of all of Shakespeare’s plays, this is the one that should glow, have visual excitement and leave the audience with a feel-good sensation. This whole production satisfies, it is filled with lyrical magic, with an amazing set cleverly designed by Christina Smith and her assistant Fiona Bruce - the Fairy Dell was breathtaking. The astonishing entrance of Titania caught me by surprise. The graceful choreography devised by movement director Lisa Scott-Murphy, whisks you away to the supernatural dream world of the Fairies, you are there as Puck does his acrobatics, as the fairies weave their magic. At the other end of the scale, Lisa has fun with the movement in the romantic passages and the inevitable breakup of the lovers.
The costume design (Alicia Clements) for this lavish production is contemporary, and truly stunning. From the strange costumes of Bottom’s team, to the glamour of the Duke and his ensemble, the beauty of Titania and the micro-lights built into the fairies costumes. Alicia has proved her skill in using different textures, fabrics, colours and designs. An orgasm for the eyes.
Sadly lighting designer, Graham Walne is indisposed, and Trent Suidgeest (Head of lighting) has creatively completed the realisation of the ethereal nature of this production. From the plain flood lighting of the Duke’s Palace to the enchanting sparkle and warm glow of the fairies glade.
Ash Gibson Greig’s success as sound designer lies not only in his ability to produce some beautiful melodies, but to have the humility to allow them to lie subtly in the background, meddling with the audience’s subconscious. The wooded hollow had the sounds of chirping birds and gave warmth to the scene. He then produced a song, beautifully sung by the three Fairies, which – along with Lisa’s dancing direction - carried through the Indian changeling theme.
This is certainly not ‘yet another production’ of an international favourite, but is something VERY special, with an amazing visual and atmospheric stimulation of the senses. Even if you know the play inside out, this innovative production is definitely worth seeing. Probably the best and most satisfying production that I have seen in Perth.
The Duke of Athens (Myles Pollard) is preparing for his marriage to Hippolyta, Queen of the Amazons (Shubhadra Young), which is to take place under the midsummer new moon. The wedding planner, Philostrate (Stuart Halusz), has been instructed to provide a celebration play. Several local hacks, led by Peter Quince (Michael Loney), agree to write and produce this revelry.
Meanwhile, one of the Duke’s courtiers, Egeus (Kelton Pell), has promised his daughter Hermia (Adriane Daff) to his choice of husband, Demetrius (James Beck). However Hermia has fallen for Lysander (Scott Sheridan). Convinced that Lysander has a spell over her, the courtier begs Theseus, the Duke of Athens, to order Hermia to be more obedient, as according to Athenian law, if she does not obey her father she may be put to death or spend the rest of her life in a nunnery.
Hermia still does not agree to her father’s demands, so Lysander and she flee rapidly to the nearby forest. Before leaving Athens, Hermia confides their destination to her best friend Helena (Elizabeth Blackmore), who is still desperately in love with Demetrius. Even though he jilted her, Helena still wishes to win him back. Demetrius learns of the lovers’ escape and follows Hermia into the woods to claim her back.
Bottom (Luke Hewitt) and his fellow craftsmen are in the woods rehearsing their play, ‘the Myth of Pyramus and Thisbe (Sam Longley)’.
Deeper in the forest, the fairies that have arrived to bless Theseus’s wedding are gathering. Oberon (Kenneth Ransom), the King of the Fairies, and his Queen, Titania (Alison van Reeken), are quarrelling over their Indian changeling. Their fairies, peasblossom, cobweb and mustardseed (Natalie Holmwood, Arielle Gray and Shubhadra Young) look after their wishes and help Puck.
Oberon overhears Helena and Demetrius arguing and sends his mischievous servant, Puck – Robin Goodfellow (Stuart Halusz), to collect certain flowers necessary to make a love potion. A concoction to be squeezed into the eyes of a sleeping person, who, upon their waking, this magic sap will make that person fall in love with the first being that is seen. However, Puck was meant to put some drops on Demetrius' eyes, but in error instils them in the sleeping eyes of Lysander.
The play rehearsals in the wood stagger on, with Snug (Benj D’Addario) scared of being a cruel lion, Moonshine (Brendan Hanson) only managing to find a rusty lamp to ‘fill the world’ with light and poor Tom Snout (Kelton Pell) having to play a brick wall.
Mayhem ensues, but as always with Shakespeare reconciliation is not far away.
The director, Kate Cherry, has chosen her cast carefully to cover the different genres within the play. The whole script is filled with contradictions and opposites, both in the story and the characters. In this production, the lovers are superbly focused, conveying an unsullied innocence, whereas the band of ‘rude mechanicals’ in ‘the play within a play’ are wonderfully bungling fun makers to the extreme. With the aid of assistant director, Jeffrey Jay Fowler, the directors have given this well-known play an exceptionally fresh and new appeal, producing a pleasant lift for even the most ardent and critical Shakespearean audience member.
The cast has some of Perth’s finest actors, who have been directed with imagination and skill, thus performing at their very best. Without exception. A special mention for Luke Hewitt, last year’s Equity winner, who as Bottom was magnificent.
The directors found all the hidden meanings and double entendres in the play, and had their team toil hard to squeeze out all of the amusement from the script. The result? This is easily the best production of ‘A Midsummer’ that you will have ever seen. The humour never stopped, the tears were rolling down my cheeks. Even the Hermia / Helena confrontation was typical of a Northbridge cat fight.
Of all of Shakespeare’s plays, this is the one that should glow, have visual excitement and leave the audience with a feel-good sensation. This whole production satisfies, it is filled with lyrical magic, with an amazing set cleverly designed by Christina Smith and her assistant Fiona Bruce - the Fairy Dell was breathtaking. The astonishing entrance of Titania caught me by surprise. The graceful choreography devised by movement director Lisa Scott-Murphy, whisks you away to the supernatural dream world of the Fairies, you are there as Puck does his acrobatics, as the fairies weave their magic. At the other end of the scale, Lisa has fun with the movement in the romantic passages and the inevitable breakup of the lovers.
The costume design (Alicia Clements) for this lavish production is contemporary, and truly stunning. From the strange costumes of Bottom’s team, to the glamour of the Duke and his ensemble, the beauty of Titania and the micro-lights built into the fairies costumes. Alicia has proved her skill in using different textures, fabrics, colours and designs. An orgasm for the eyes.
Sadly lighting designer, Graham Walne is indisposed, and Trent Suidgeest (Head of lighting) has creatively completed the realisation of the ethereal nature of this production. From the plain flood lighting of the Duke’s Palace to the enchanting sparkle and warm glow of the fairies glade.
Ash Gibson Greig’s success as sound designer lies not only in his ability to produce some beautiful melodies, but to have the humility to allow them to lie subtly in the background, meddling with the audience’s subconscious. The wooded hollow had the sounds of chirping birds and gave warmth to the scene. He then produced a song, beautifully sung by the three Fairies, which – along with Lisa’s dancing direction - carried through the Indian changeling theme.
This is certainly not ‘yet another production’ of an international favourite, but is something VERY special, with an amazing visual and atmospheric stimulation of the senses. Even if you know the play inside out, this innovative production is definitely worth seeing. Probably the best and most satisfying production that I have seen in Perth.