For the Lambeth Fringe, The New Rep Theatre tears through Richard Pepper’s adaptation of Shakespeare’s A Midsummer Night’s Dream in just 90 minutes. Focusing on the four lovers as they get twisted up by the fairies in the forest, while also bringing in the mechanicals, the actors in a play within a play – rehearsing in the forest and caught up in the fairies playing around.
There’s a lot of fourth wall breaking, asides to the audience and some very modern moments, New Rep have certainly gone all out for the comedy to – mostly – success but a few moments land awkwardly and feel tacked on, pulling us out of the world rather than deeper into it. A sharper edit or simply more restraint would have helped here.
Jack Gogarty’s Bottom works well but has a naive earnestness despite his selfishness managing to endearing him to the rest of the mechanicals. Gogarty’s delivery and timing is excellent, he goes really big with the role and only just about reins it in, playing it right on the edge to keep Bottom as ridiculous but oddly endearing. There is the impression that Gogarty knows exactly where that line is and is playfully inching towards it while never – quite – stepping over. Another highlight is Gruff William’s ‘Wall’ which is one of those roles that could be a throwaway gag but here becomes a running delight culminating in his dry – if shouty, delivery of exposition is extremely funny.
On that, the shouting is sometimes too much, with voices pushed too loud for a small black-box space – lines are occasionally lost to sheer volume. When the volume goes right up, it tips into uncomfortable rather than energetic.
At times this A Midsummer Night’s Dream threatens to overstay its welcome a little, with a little too are drawn out but each time it really reaches that point, it brings out something to really make us laugh, a water gag used for tears is an absolute highlight, coming out of nowhere and playing brilliantly into the earnest silliness. That balance between excess and inspired silliness really defines the show: it teeters, sometimes wobbles, but it finds a way to win us back.
There is a lot of really strong physical work on show, with the fairies in cat masks moving as one strange, slithering pack, crawling over and around each other in a way that feels both unsettling and mesmerising. Andi Bicker’s Puck is never still, always prowling, always just moving a little off-key, bringing a real sense of otherness to the mischievous sprite. The physicality throughout is impressive too, from Jamie Bunn’s Hermia testy fighting and leaping about the stage to the fluid, detailed movement used all around, every door to the room used with cast appearing through the audience too. Credit to movement director Kim Whatmore, whose work is clear throughout and who also plays Lysander!
It’s by all means an entertaining 90 minutes; there are some proper big laughs with a number of them from Pepper’s adaptation and shared direction with David Knight. I’d definitely see more from the company, the talent and enthusiasm is obvious. With a touch more discipline in the edit, New Rep could take this from a fun Fringe romp to something sharper and stronger. I’m curious to see what New Rep does next.
Reviewer: Dave Smith
Reviewed: 27th September 2025
North West End UK Rating: