Performing Arts

A Midsummer Night’s Dream

Midsummer Nights Dream Uni of Adelaide Theatre GuildPresented by the University of Adelaide Theatre Guild
Reviewed Sat 7th August 2010

http://www.adelaide.edu.au/theatreguild/

Venue: Little Theatre, Union Building, University of Adelaide
Season: 7:30pm Tues to Sat, 10 – 14, 17 – 21 August
Duration: 2hrs 15min including interval
Tickets: Adult $25/conc $20
Bookings:
8303 5999 or BASS 131 246 or http://www.bass.net.au

Director, Cassandra Backler, made a brave decision to attempt to cast this production of William Shakespeare’s fantasy comedy with current university students for her debut as a director for the Guild. The Guild was originally established to allow a creative outlet for staff and students back when the university had a thriving drama department, drawing people primarily from that faculty. Over the years its casts and creative teams became progressively more likely to be recruited from outsiders. This bold move to recruit students has succeeded in bringing new faces to the Guild, some of whom have never been in a theatre production before. A couple of the cast come from Flinders University and the production crew have been drawn from AC Arts students and graduates.

As many of the cast have had no theatrical training or experience, it was not surprising that there were a few problems with projection and diction, a couple of people who garbled their lines, a couple more who laboured them and some tentative performances by a few of those in minor roles.

This was balanced, however, by some very good work from others and, easily stealing every scene in which he appeared, there was Joshua Penley, playing the plum role of Nick Bottom the weaver. Bottom is one of the group referred to by Puck as “the rude mechanicals”, six working men, under the direction of Peter Quince the carpenter, who decide to mount a play to celebrate the nuptials of Theseus, Duke of Athens, and the Amazonian Queen, Hippolyta. Bottom is every director’s nightmare, trying to rewrite the script, increase his own involvement by suggesting that he should also play characters other than the one that he is assigned, attempting to direct from inside the cast and overacting outrageously. Penley gives us a Bottom who is plainly an ass long before Puck gets at him, and he generates a string of belly laughs from his terrific interpretation of the role. He is a hard act to follow and the biggest highlight of this production.

There is a complex set of relationships within this play, with Hermia and Lysander in love with one another, Demetrius, who once loved Helena now also loving Hermia, and Egeus, Hermia’s father, insisting she marry his choice of husband, Demetrius, and appealing to Theseus for his assistance in ensuring that his will is obeyed. Hermia and Lysander run away into the forest, pursued by Demetrius, who is, in turn, pursued by Helena.

Meanwhile, Oberon, King of the Fairies, Titania, his Queen, Puck, his mischievous servant, and numerous other fairies are also in the wood. Oberon and Titania have had a disagreement over an Indian changeling and he has Puck running around with a magical love potion that ends up confusing the four lovers, with both men protesting that they now love Helena. It also has Titania falling for Bottom who, thanks to Puck, now has the head of a donkey. All comes out right in the end, but not before we have all had plenty to laugh at in the antics caused by all this confusion.

Sarah Agius, as Hermia, and Rachel Burke, as Helena, are delightful as the two girls, confused by the sudden changes in affection by the young men. Ronald Densley, as Lysander, and Alex Antoniou, as Demetrius, are equally appealing as the magically affected suitors.

Imogen Nicholas, as Titania, with Rachael Grauwelman-Smith, April Slomiany, Karen Burns and Denise Tran, as her fairy entourage, do much to create the whimsical fantasy world. Henrietta Karmel injects a good degree of fun into her portrayal of Puck, although she could afford to be even bigger, while Travis Kulinicz is a strong Oberon but needs to take more care at times over the clear delivery of his lines.

This is a good effort from such a relatively inexperienced group and well worth a visit.

Reviewed by Barry Lenny, Arts Editor Glam Adelaide.

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