A Midsummer Night’s Dream is one of the most popular of Shakespeare’s classic plays staged today. Its deliberate combination of fantasy, comedy and drama have enchanted audiences many times over the years, and this year’s interpretation in the beautiful setting of Regent’s Park Open Air Theatre is one to watch. Two pairs of lovers end up in a forest, where one pair wishes to escape the tyranny of the societal demands placed on them. The other is split, with both parties wanting what they can’t have. Will they get what they want and escape getting caught up in the king and queen of the fairies’ quarrel? Or are they and others merely pawns in magical games?
One of the first things observed with this production was the usage of both traditional Shakespearean and modern language to not only heighten the comedy but to make it more inclusive. Whilst this was a strong move, at the time of review, there was a sense of hesitation from some cast members, which made it unclear whether this choice was deliberate or whether the lines had actually been forgotten. It did sharpen up as the show progressed; however, in order to make the audience feel at ease from the first few lines, it needed to have that sharp tightness from the start.
Aside from that, what we witnessed was an enchanting production that was experimental with the inclusion of a live folk band on stage, creating a festival-style fairy realm with a huge nod to the Pagan origins in the text. Along with a stage set that was reminiscent of a Greek Amphitheatre that had sliding doors and trapdoors to create the different scenes with strong differentiation, combined with effective lighting, the stark differences between the human and fairy realms were vast and we found ourselves getting more involved as the journeys for all characters progressed during the evening. Having the advantage of a beautiful sunset also added to the magic and heightened the action in a natural, engaging way.
The cast were a strong bunch who embraced their characters well and were bold with their creative choices to bring them to life. Highlights included Neil D’Souza’s Egeus and Snug. These two characters are so different in terms of their views on the world that whoever took them on needed to show a vast range of skills to make them stand out. D’Souza not only demonstrated these skills but also made them extremely believable without losing the dramatic impact. He made Egeus, the father figure, one to be feared, as well as created a delightfully comic character in Snug.
Jenny Rainsford took on Titania and Hippolyta with a strength that was well placed in making sure these powerful women had a grounding energy to them without losing the impact they had on the action. Rainsford created a Hippolyta who, despite being a warrior queen, had a good heart and wanted fairness for all lovers involved. When she became Titania, what made this character engaging and entertaining was the bold choice of making the fairy queen one who was a goddess who was untamed and wild in her emotions, as opposed to the restraint of Hippolyta. It was great to see Titania in this format, as it gave her a new layer of raw abundance as she fought to keep hold of what she believed was rightfully hers and Rainsford approached her in a way that was exciting and engaging and is one to watch out for.
I mentioned earlier the usage of including modern language to make the play more accessible. This is where this choice really paid off with the inclusion of a deaf actor. Nadeem Islam took on the lovable Bottom, who has an interesting role to play both in the play within a play, as well as having an unexpected connection with Titania. The cast of mechanicals made good use of the inclusive nature of these sections, which made Bottom level up as a character by adding this extra layer to him. Islam, in many ways, stole the show as he embraced the egotistical vivacity of Bottom with his vibrant energy as he delivered the punchlines with ease, as well as used the power of sign language with two actors taking on his lines at those moments to keep the action going. The combination of these skills within this clever strategy not only demonstrated inclusivity on stage but also gave Islam the ability to add a new, engaging slant to his role, making this version one of the most well-constructed characters to date.
Mystical, magical, musical and enchanting. That is A Midsummer Night’s Dream. Whether you are a fan of the Bard or not, this version will appeal to all and ignite a little magic to enhance your summer.
Review by Sascha Cooper
‘Are you sure
That we are awake? It seems to me
That yet we sleep, we dream.’
When a bitter dispute erupts in the fairy kingdom, four fleeing lovers and an unsuspecting weaver called Bottom find themselves adrift in an enchanted forest, down a path of chaos and delusion conjured by the mischievous Puck.
With desire turned upside down, hearts are won, lost, and won again in a realm of dreams where worlds intertwine and the impossible becomes a distant memory.
In a blissful new production directed by Atri Banerjee (The Glass Menagerie, Royal Exchange; Julius Caesar, RSC), underscored with folk-infused melodies composed by Maimuna Memon (Portia Coughlan, Almeida; The Grapes of Wrath, National Theatre), experience Shakespeare’s most spellbinding comedy as it blossoms once again in our magical outdoor setting.
Cast:
Issam Al Ghussain (Flute)
Rachel Barnes (Moth)
Georgia Bruce (Puck)
Misia Butler (Lysander)
Neil D’Souza (Snug & Egeus)
Amelia Gabriel (Mustardseed)
Harriet Gordon-Anderson (Quince)
Rori Hawthorn (Cobweb)
Olivier Huband (Oberon & Theseus)
Nadeem Islam (Bottom)
Damien James (Peaseblossom)
Terique Jarrett (Demetrius)
Evie Jones (Snout)
Mary Malone (Helena)
Hiftu Quasem (Hermia)
Jenny Rainsford (Titania & Hippolyta)
Dumile Sibanda (Starveling)
Creatives:
Atri Banerjee (Director)
Rachel Barnes (Musical Director)
Naomi Dawson (Set Designer)
Yarit Dor (Intimacy & Fight Director)
Amara Heyland (Associate Director)
Anjali Mehra (Movement Director)
Maimuna Memon (Composer & Musical Arrangements)
Tomás Palmer (Costume Designer)
Max Pappenheim (Sound Designer)
Joshua Pharo (Lighting Designer)
Jacob Sparrow (Casting Director)
Emma Woodvine (Voice & Text Director)
A MIDSUMMER NIGHT’S DREAM
Regent’s Park Open Air Theatre
20 June to 18 July 2026
