A MIDSUMMER NIGHT’S DREAM. William Shakespeare’s romantic comedy. Direction Sheldon Cross. Set design Sheldon Cross, June Edwards. Costumes/makeup Liz Roodt and Co. Lighting Gary Fargher. Presented by Claremont Dramatic Society. At Masque Theatre. Thursday to Saturday. SHEILA CHISHOLM reviews.
WHO would have thought Shakespeare’s romantic comedy could fit into a Middle-East desert? True, his plays adapt to virtually any setting. But pretty, translucent winged fairies flitting around hardy red berried zahroors, or yellow flowered green mirr shrubs, in the Sinai desert, stretch imagination. Yet, that’s where director Sheldon Cross placed A Midsummer Night’s Dream. Not only that, he chose a hypothetical Colonial period when tourists, in jodhpurs and pith helmets explored Egypt; fairies came straight out from One Thousand and One Nights; Queen Titania’s (Michele Belknap) first headgear rivalled Brunnhilde’s from Wagner’s Die Walkure; King Oberon’s get up (Richard Higgs), resembled a Roman legion gone awol and the Mechanicals’ garb and posture highlighted their trade in marvellously outlandish ways. Sounds a hoot. It is.
Cross intimated his ideas stemmed from a recent stay in the Sinai desert. “It’s such a mystical place. And what is A Midsummer Night’s Dream other than a mystical dream?” says Cross.
He’s right. The Bard’s Dream is a dream about mythical beings, love, mistaken identities, fun with some bawdiness thrown in for good measure.
While Cross has trimmed text, and Hermia’s father Egeus becomes Egea her mother (Facron Wheeler), Quince is female called Patricia (Liz Roodt) and Flute’s first name is Francis (Kim R2), all Shakespeare’s well loved lines are there – although don’t expect Mendelssohn’s Incidental music... its Idan Rachel and Katy Perry.
Given detailed direction this hand-picked crew all have excellent stage presence. Clear diction in various accents – from Eastern, English, Cockney and Scots added amusing tones. A cast numbering 22 makes its difficult paying due tribute to everyone.
But accolades must go to Jana Botha as Puck. Quick-witted, mischievous, in black-furry, quirky costume – with her trade mark standing on one leg (without wobbling) – her speed and gymnastics made one believe she could “put a girdle round the earth in 40 minutes”
The Mechanicals antics are often boring and contrived. Not this time. As a group, interacting, acting out ridiculous characters they excelled. Led by Roodt – in riding habit – she directed her crew without betraying she knew she was funny. David Sharpe’s Snug the Joiner cum Lion provided laughs fluttering, twittering and roaring his head off.
In the play within a play, as Thisbe, Kim R2’s high pitched squeaks caused giggles; “bent double” from tailoring, Hishaam Loofer as Moon successfully balanced a large lantern on his head. Tad Nogueira-Godsey, covered in pots and pans, behaved as any “dim-witted” Tinker and Wall would. And Mokoena “MK” Ramollo played Bottom as the self-confident ass he was. However, his rather insignificant “ass’s” headgear didn’t justify frightening fairies, his co-Mechanicals, or being the ugly beast Oberon hoped Titania would fall for.
Demetrius (Matt Roy), Lysander (Willie Blignaut) Hermia (Tahnee Steyn) and Helena (Santie du Toit-White) gave worthwhile characterisation. As did Belknap as beautiful, headstrong Titania and Richard Higgs as twin-faced Faerie King...u nkindly tricking Titania – and kindly resolving lovers love. Against an ever changing coloured cyclorama the plot played out on a simple set of palm trees, a raised platform and Titania’s fairy bower.
Cross and team lift this popular play to a level that everyone, not only Shakespeare lovers, should see. Congratulations.
l Tickets: from R70, 021 788 1898, [email protected]