Utility vehicles and red sports cars, Mechanicals in Hi-Vis vests and wielding ‘Stop’ signs, costumes that reference the Matildas, and Barbie and Ken, are all elements that bring Glenn Elston’s interpretation of this 400-year-old comedy into the 21st century – as long as you’re prepared to overlook those Draconian laws of old Athens that gave parents the right to dispose of their daughters in marriage to whomever they wished (with death a consequence for refusal). And a setting under the stars in Centennial Park is a fine place indeed to find a fairy bower in a woodland setting and watch the antics of eloping lovers, feuding fairies and lovable fools,
There’s much fun to be had in this production, which moves at a slick pace and isn’t afraid of ad-libbing and contemporary music. Nor of some gender changes. It is Hermia’s mama (played by Elizabeth Brennan) rather than her father, who is determined her daughter will marry Demetrius. Brennan also plays Bottom; while Madeleine Somers is Peter Quince. Both actors give us fabulous renditions of these two Mechanicals. Somers’ often exasperated Quince speaks in a plummy voice that put me in mind of Emma Thompson crossed with Margaret Thatcher, and she has wonderful comic timing. Likewise, Brennan’s Bottom is a complete delight, whether asserting himself as the world’s most accomplished actor or bemused by his good fortune to be beloved of Titania (Nicole Nabout). All the Mechanicals in their various roles command our attention and Tane Williams Accra (who also plays Demetrius) has particular fun as Moonshine, suitably attired with a moon on his bottom. Henny Walters as Snug also deserves a mention. She brought a lot of subtle humour to what can be an overlooked role and had everyone in stitches in one of the last scenes as a lion, one that any filmgoer would recognise.
The fairy kingdom (with sparkly costumes by Karla Erenbots) does indeed look magical with Centennial Park as a backdrop. A robust (rather than sprightly) Puck (Jonathon Freeman) is aided and abetted by his acrobatic assistant (Cameron Shook). Sue-Ellen Shook’s choreography is superb, whether in the fairies’ dance and acrobatic scenes or in the stage combat in the fight between Demetrius and Lysander (Alex Cooper), which was performed in slow motion to great effect.
As the beleaguered quartet of lovers, Hermia, Helena, Lysander and Demetrius have their moments, but it is the Mechanicals and the interactions between Nabout and Hugh Sexton, whether as Hippolyta/Titania and Oberon/Theseus who stand out as memorable.
With its contemporary references, pop songs, adlibbing and mix of styles and decades, this is perhaps not a production for traditionalists, but as you would expect from Elston’s Australian Shakespeare Company, which has been directing Shakespeare Under the Stars for 35 years, the actors are at ease with the Bard’s verse and deliver his words with apparent ease.
I’m not convinced that staging this production in April is an inspired choice. Sydneysiders are often in denial of winter temperatures but I can assure you that three hours in the Belvedere Amphitheatre on what was indeed a star-studded night was also very cold – even though I had brought along a woolly and a mac. Chairs can be hired for $5, but not blankets. Take your own! An onsite bar is available for those who don’t want to bring along their own picnic. Suitably rugged up, this Shakespeare Under the Stars is a fun experience.
Until 28 April at Belvedere Amphitheatre, Centennial Park, Paddington.
Tickets: $55 to $115; children $25 to $35
More: https://www.shakespeareaustralia.com.au/productions/under-the- stars-a-midsummer-nights-dream-sydney
