July 23, 2007
See this while you can – or miss one of Oxford’s best ever Shakespeare productions. Sparkling with creativity and wit, this is a light-touch production of a light-touch play, wringing every nuance from the language and the laughter.
Oxford Shakespeare Company has an enviable repertoire of imaginatively-directed plays and their 2007 Midsummer Night’s Dream pushes the bar even further. The ten-strong cast carry off the poetry and the performances with beguiling simplicity – hiding the hard work they’ve undoubtedly put in.
The fantastical story of the fairyland world playing games with a woodland world of wooing lovers looks awkward on paper. But in the mouths and minds of these players, the play comes alive with fluid clarity – running through its two-hours like a well-oiled machine.
While Andrew Hodges’ performances as Bottom and Demetrius will rightly attract applause, all the cast deserve plaudits for their unselfish contributions to a well-knit whole. Hodges is a gifted comedian: better, he has a Branagh-like ability of word and gesture, bringing the poetry and comedy bursting to life.
Sarah Jane Wolverson’s Helena runs from sad to sexy in a deftly delivered spectrum of comedy and emotion – nicely contrasted with Alice Keenan’s fiery-spirited, funny Hermia. Richard Keightley’s curly-haired Lysander brings a bouncily love-lorn contrast to Hodges’ burly Demetrius. Such contrasts are not accidental and director Jilly Bond mines the gold.
Lessons in language are given by David Chittenden’s virile Oberon and unctuous Theseus, and by the fluency of Kirsty Yates’ Titania. Physical presence and comedy is beautifully conveyed by Joanna Morse Palmer’s aerial acrobatics, mirrored by Charlotte Baltrop-Gallet’s clownish copying.
Becci Gemmell’s Puck is a buzz-fly of childish energy, bagging laughs from merest movements and reactions. Ian Cairns’ comedic Quince/Wall gets to wear bricks and a tutu and wins the audience in both.
Shot through with sexiness, this is a sensuous, fast-paced production which can’t fail to leave wide grins on happy faces. See it in the sun and enjoy a play in full bloom. If wet, it’ll bring the sun back to your summer.
Musical, physical, fluid and fun – no eye has seen, nor ear has heard an Oxford play so thoroughly enjoyable - well, not for ages anyway.
Oxford Shakespeare Company has an enviable repertoire of imaginatively-directed plays and their 2007 Midsummer Night’s Dream pushes the bar even further. The ten-strong cast carry off the poetry and the performances with beguiling simplicity – hiding the hard work they’ve undoubtedly put in.
The fantastical story of the fairyland world playing games with a woodland world of wooing lovers looks awkward on paper. But in the mouths and minds of these players, the play comes alive with fluid clarity – running through its two-hours like a well-oiled machine.
While Andrew Hodges’ performances as Bottom and Demetrius will rightly attract applause, all the cast deserve plaudits for their unselfish contributions to a well-knit whole. Hodges is a gifted comedian: better, he has a Branagh-like ability of word and gesture, bringing the poetry and comedy bursting to life.
Sarah Jane Wolverson’s Helena runs from sad to sexy in a deftly delivered spectrum of comedy and emotion – nicely contrasted with Alice Keenan’s fiery-spirited, funny Hermia. Richard Keightley’s curly-haired Lysander brings a bouncily love-lorn contrast to Hodges’ burly Demetrius. Such contrasts are not accidental and director Jilly Bond mines the gold.
Lessons in language are given by David Chittenden’s virile Oberon and unctuous Theseus, and by the fluency of Kirsty Yates’ Titania. Physical presence and comedy is beautifully conveyed by Joanna Morse Palmer’s aerial acrobatics, mirrored by Charlotte Baltrop-Gallet’s clownish copying.
Becci Gemmell’s Puck is a buzz-fly of childish energy, bagging laughs from merest movements and reactions. Ian Cairns’ comedic Quince/Wall gets to wear bricks and a tutu and wins the audience in both.
Shot through with sexiness, this is a sensuous, fast-paced production which can’t fail to leave wide grins on happy faces. See it in the sun and enjoy a play in full bloom. If wet, it’ll bring the sun back to your summer.
Musical, physical, fluid and fun – no eye has seen, nor ear has heard an Oxford play so thoroughly enjoyable - well, not for ages anyway.