There’s nothing tragic about the mirth and magic of Opera North’s wonderful production, a second revival of their 2008 production of Britten’s opera, whose libretto – with the exception of one line introduced in response to the many cuts from the original – is taken directly from Shakespeare’s most popular comedy.
The mischievous Puck (Daniel Abelson) accompanies us throughout and in the forest his master is Oberon (James Laing), King of the Fairies, whose Queen, Tytania (Daisy Brown) is served by fairies Peasblossom (Kitty Moore), Moth (Dougie Sadgrove), Mustardseed (Lucy Eatock), and Cobweb (Jessie Thomas). A little domestic disagreement has ensued which is about to spill over into the paths of lovers – Hermia (Siân Griffiths) who with her love Lysander (Peter Kirk) is fleeing her father’s preferred match of Demetrius (James Newby) who in turn is unwelcoming pursued by Helena Camilla Harris) – and the mechanicals (craftsmen turned amateur actors) – Bottom Henry Waddington), Flute (Nicholas Watts), Snug (Frazer Scott), Snout (Colin Judson), and Starveling (Nicholas Butterfield) – who, under the direction of Quince (Dean Robinson), are preparing a play for Theseus’ (Andri Björn Róbertsson) wedding to Hippolyta (Molly Barker).
With dark mischief aplenty in the air, and despite Oberon’s well-meant intentions, lovers become opposed and fairy magic provokes merriment and fear in equal measure. But the show must go on and so once the amusement has died down, the challenge is whether Puck can right his wrongs in time for the mechanicals’ performance of ‘Pyramus and Thisbe.’
In moving the action closer to the time of the opera’s composition in 1960, Director Martin Duncan and Revival Director Matthew Eberhardt give a direct nod to the psychedelia that was to follow with Johan Engel’s set design consisting of a translucent Perspex forest with giant bubbles floating above them which resonates strongly with the fantastic and magical themes at the heart of this work.
Musically, Britten ensures that each group of characters inhabits a different musical world and this has been matched through Ashley Martin-Davies’ costume design. The ethereal fairy music sees Oberon and Tytania reaching for the high notes whilst the chorus of blonde-haired fairies (Willow Bell; Reggie Blood; Sienna Christon; Hope Day; Bethany Doy; Toby Dray; Olivia Dunning; Joseph Hall; Nell Hargreaves; Aurora Harris; Lars Hunter; Evie Marsden; Felicity Moore; Lyra Schofield) dressed in white resemble something from the Village of the Damned, whilst Puck ,in a purely spoken role, is accompanied by trumpet and snare drum. The four lovers are resplendent in their flower power outfits with romantic accompaniment that often overlaps as they sing over each other when love turns to tiff. The mechanicals in contrast are dressed as the workmen they are who deliver the funniest of scenes as they rehearse and perform their play. The ensuing musical dissonance could go awry but is successfully navigated by conductor Garry Walker who leads the orchestra in a performance that supports the singers rather than overwhelming them and was matched by some exquisite choreography from Ben Wright.
There are electric performances from all the cast and their strong chemistry is evident throughout. There are superb comic performances from the mechanicals, led strongly by Waddington, and our four young lovers all excelled vocally. A special mention for an acrobatic Abelson whose subtle breaking of the fourth wall continually draws us deeper and deeper into this well performed magical tale.
A Midsummer Night’s Dream is one of Opera North’s current touring productions as part of a season focused on magic, mystery, and magnificent music. Further details can be found at https://www.operanorth.co.uk/
The Lowry is a theatre and gallery complex at Salford Quays with a wide creative offering, further de-tails https://thelowry.com/whats-on/
Reviewer: Mark Davoren
Reviewed: 13th November 2024
North West End UK Rating: