In recent years I have reviewed many productions of this play (and Britten’s opera derived from it) and mostly in shimmering summery settings, often outdoors. So I had to wonder beforehand what a winter RSC production at the Barbican could add to a surfeit of summer’s lease? I was pleasantly surprised by a thoughtful, warm and in some ways traditional production, that found many a new nuance of mood and character.
In so many productions of this play the main focus is the fantastical fairy world of the forest, but here director Eleanor Rhode gives equal weight to the worlds of the court and the ‘mechanicals.’ This is surely right, as the play will only release its full potential if all three elements are nurtured to the fullest extent. It is therefore a strength that that the opening and closing scenes at the court of Theseus and Hippolyta are given full attention rather than viewed as a tiresome framing device. In contrast we don’t actually get to see the fairies – Moth, Cobweb and Mustardseed are voiced rather than shown – but such is the compelling atmosphere generated by the sound, light and design team in the forest scenes, this does not seem to be a substantial loss. Likewise, the ‘mechanicals’ dispense with elaborate props and the humour of their scenes derives from the interplay of character, some fine musical choices, and a bravura assault on the fourth wall – always difficult to bring off in a theatre as large as the Barbican.
There are some unconventional tweaks in the casting – for example, Peter Quince becomes Rita – but the quality of the ensemble acting is very fine across the board. While the projection and pointing of the text could be better at times, what particularly impresses is the quality of the physical acting. I noticed many fresh embodiments of physical intimacy or hostility that I had never previously seen matched with those sections of text before. This was particularly so in the scenes involving the mishaps of the lovers in the forest where their invisible interactions with Oberon and Puck were beautifully achieved.
With so many fine characterisations on display, it is a shame that a short review can only highlight a few performances. Andrew Richardson and Sirine Saba combine the roles of Theseus/Oberon and Hippolyta/Titania. They both find the right blend of imperiousness and whimsical, charismatic charm so that you believe both in the storms and the underlying strength of their relationship. As the two pairs of ill-assorted lovers, Dawn Sievewright, Nicholas Armfield, Ryan Hutton and Boadicea Ricketts all take their individual comic moments with gusto, and the team of ‘mechanicals’ likewise work very well as a team while producing individually distinctive performances. Mathew Baynton, as Bottom, develops a fine line in goofy charm and self-importance well before he dons the donkey’s ears; and Helen Monks is very much at home coordinating things as Rita Quince. Katherine Pearce holds things together as Puck, the key Master of Ceremonies in the play. This is a richly layered performance that commands attention from her very first appearance.
In a play of so many moods and modes the contribution of the creative team is key, and, here, just as with the acting, the attention to detail is what counts. There are many subtle interventions by Lucy Osborne, Matt Daw and Pete Malkin, responsible respectively for set and costumes, lighting and sound; and the contributions from John Bulleid and Will Gregory in designing illusions and composing the highly memorable music are truly notable.
In such a familiar play it is very much to the credit of everyone involved that in so many exquisitely crystallised moments of detail we were made to see the lines and action from a fresh and appealingly new angle. If you want an escape from the customary Christmas theatre fare, then you will find this production very rewarding.
William Shakespeare
Director: Eleanor Rhode
Cast includes: Nicholas Armfield, Mathew Baynton, Emily Cundick, Ryan Hutton, Helen Monks, Katherine Pearce, Andrew Richardson, Boadicea Ricketts, Sirine Saba, Dawn Sievewright, Mitesh Soni, Premi Tamang
Until 18 January 2025
2 hrs 50 mins with interval
Photo Credit: Pamela Raith