Review of A Midsummer Night's Dream at Leeds Playhouse

This bold, edgy reimagining of Shakespeare’s much-loved comedy takes the narrative in a darker direction than more traditional interpretations.

That is not necessarily a bad thing – director Holly Race Roughan’s choices open up some fascinating pathways and pose some interesting questions about the text and possible hidden meanings that have hitherto remained obscure. That, of course, is the beauty of the Bard – the work is there for each new generation to explore and layer with contemporary resonances. There are oblique references to climate change (this is a midsummer where it snows) the divisive nature of modern politics and the corrupting influence of power.

The setting is Athens where the marriage of Theseus (Michael Marcus) and Hippolyta (Hedydd Dylan) is about to take place. Neither is particularly happy about the forthcoming nuptials and neither are particularly sympathetic characters – entitled, privileged and cruel. The actors in these roles also double as the fairy king and queen Oberon and Titiania whose quarrel upsets the fairy kingdom and has unfortunate consequences for the young Athenian lovers Demetrius (Lou Jackson), Hermia (Tiwa Lade), Lysander (David Olaniregun) and Helena (Tara Tijani). Their love-hate, unrequited-unwanted love misunderstandings, conjured by potions administered by a darkly mischievous Puck (Sergo Vares), are played with great energy and sparky comic timing.

The Mechanicals, led by Quince (Jack Humphrey) are a smaller crowd than usual with Puck taking on one of the roles, and only two others Flute (Pria Kalsi) and Bottom (Danny Kirrane). This worked well enough, but diminished some of the opportunities for comedy. Bottom (Danny Kirrane) becomes a slobby, drug-fuelled executive chef whose self-regard is punctured in the classic scene where he is transformed into a donkey (with whom Titania, under a spell, falls in love).

Designer Max Johns’ set is simple and effective – a white panelled edifice overlooks a flexible playing area that becomes various locations at different points – and emblazoned across the top in lights are the words ‘Perchance to Dream’. A co-production between Leeds Playhouse, Shakespeare’s Globe, Bristol Old Vic and innovative theatre company Headlong, this may not please the purists but it wins on its own terms – pacy, energetic and thought-provoking, it’s certainly a Dream for our times.

To February 28.