Review: A Midsummer Night's Dream
It is always great to discover new gems about your ‘home town.’ For example, did you know that possibly the only radio station-organised Shakespeare festival in the world takes place in Brisbane—and has done so since 2007? Despite the challenges of 2020, the 4MBS team celebrated their 14th year of Shakespeare in Brisbane parks, with an excellent production of A Midsummer Night’s Dream.
A Midsummer Night’s Dream is a great choice for a Shakespeare Festival held during balmy SEQ November evenings. The 4MBS production team not only made a great choice of play, but also entrusted Eugene Gilfedder with the responsibility of directing the 2020 production. As an experienced actor, director, writer, music director, and sound artist/composer, the multi-talented Gilfedder was clearly the perfect choice to direct the 2020 play.
For those who weren’t forced to study this romantic comedy at school, the plot is not only accessible but was helpfully included in the free programs. The main threads of the story are woven together to present the trials of unrequited love (complicated by the refusal of a disgruntled father to acquiesce to his daughter’s wishes as to who she should marry), the impact of the fairy world on the mortal (particularly when the mischievous Puck manages to mix up his orders), and the entertainment that can be had when aspiring actors present a play. Themes span love/ marriage, obedience/disobedience, order/disorder, and dreams/reality. Shakespeare also offers a keen critique of fellow playwrights and performers, beautifully brought out with great humour by the actors in the ‘play within the play.’ Of course, all ends happily: the lovers marry the partners they desire; the Father is pacified; the actors are rewarded for their entertainments; and, of course, Oberon and Titania are reunited, instructing the fairies to ‘bless this house’.
Pictured (L to R): Andrew Hearle (Oberon), Helen Cassidy (Titania) and Francis McMahon (Bottom). Picture credit: Creative Futures Photography.
I had the opportunity to see the 2020 4MBS production at both Roma Street Parkland, and also at Einbunpin Lagoon Park, Sandgate (and I am sure that the production worked equally well in the third parkland location, the Skyring Terrace Gasometer, Newstead). The Roma Street Amphitheatre is a great space for performers and audience alike—allowing for plenty of distancing, which was beautifully managed with the use of suitably Shakespearean signs, distributed by an enthusiastic volunteer. The production had a simple but effective set, and the lighting and sound crew impressed (great music choices… the actors were audible, even for those of us seated right at the back… and the set was beautifully lit in each venue). It might have helped those at the very back of some of the parks if the costumes assisted in distinguishing the two pairs of Athenian lovers, but perhaps we were meant to be as confused as Puck. However, this is a tiny quibble, as Xanthe Jones did a great job in producing a cohesive design for the fairy, society, and ‘blue collar’ worlds. Titania’s’ costume was quite glorious, the ‘wall’ entertained, and the rest of the costumes worked well for the production and actors (Francis McMahon’s scarf flounce was quite perfect, and his ‘ears’ suitably asinine).
Pictured: The lovers tussle… Lysander (Steven Hirst), Demetrius (Jackson McGovern), Hermia (Ashlee Lollback) and Helena (Emma Wright). Picture credit: Creative Futures Photography.
Unfair perhaps to highlight only a few of the performances by Brisbane’s ‘leading Shakespearean actors’, but Francis McMahon (Bottom), Jason McKell (Flute), and Renaud Jadin (Snout) took every opportunity to entertain. McMahon’s ‘Bottom’ was compelling, and highly entertaining when making fun of ‘actors.’ The choreographed ‘fighting’ between the four lovers—and in particular between Hermia (Ashlee Lollback) and Helena (Emma Wright)—worked really well. And, of course, Helen Cassidy proved to be a charming, energetic, and compelling Titania, where her ‘duets’ with the enchanted McMahon were a definite highlight of the production.
Each of the four (free) shows were fully-booked, so it was a pity that the relaxing of the necessary COVID-safe restrictions did not come in time for more Brisbane residents to see this production. Audiences young and old had an enjoyable afternoon (starting with some live music, and then excellent swordplay by Prima Spada School of Fence) and an enthralling early evening (with two wonderful hours of escape from the worries of 2020).
So my advice is to plan ahead. Follow 4MBS now (Twitter, Instagram and Facebook), tune in (103.7FM and online), or keep an eye on their website for details of the 2021 Festival. I’ll see you there!
Verdict: An entertaining escape from the worries of 2020. Great production and fantastic direction, with some standout Shakespearean performances.
The reviewer attended the Sunday 15th November (Roma Street Parkland) and Saturday 21st November (Sandgate) performances of this free event, produced by 4MBS Classic FM.
Pictured: Titania and Bottom bewitched (with fairies in attendance, of course!). Picture credit: Creative Futures Photography.
Pictures Credit: Creative Futures Photography.