VOX Theatre Arts' production of 'A Midsummer Night's Dream' transformed New Farm Park into a whimsical realm of magic, mischief, and melody. This enchanting adaptation of Shakespeare's beloved comedy charmed audiences with its clever mix of Elizabethan prose and modern musical flair, showing that the Bard's work is just as timeless as ever—and maybe even more fun with a dash of pop music and a dollop of glitter.
The natural beauty of the park served as an idyllic backdrop for the fairy-filled forests, with its towering trees doubling as both scenery and a much-appreciated source of shade for the audience and actors alike. While the outdoor setting brought its own challenges, the cast handled it so that the natural elements seemed more like a part of the show rather than a hindrance. Even the local wildlife got in on the act, with Dave the Noisy Miner earning his title as the "Resident Nuisance," providing some unscripted (but thoroughly entertaining) moments throughout the performances.
The production featured a talented ensemble of nineteen actors who breathed new life into familiar characters with a healthy dose of campy humour. This was not just your typical Shakespearean retelling; this was Shakespeare meets Bardcore Jukebox, with pop hits woven into the fabric of the story.
Skye Schultz dazzled as the mischievous Puck, their playful antics and cheeky expressions capturing the essence of Shakespeare's iconic trickster. It was clear they relished in orchestrating the chaos, often found perched in the tree with a knowing smirk and eyes twinkling mischievously. The play’s chaotic energy flourished under their watchful gaze.
The fairy royalty duo of Isaac Brown as Titania and Reece Ratcliffe as Oberon truly commanded the stage with their majestic elegance and playful chemistry. Draped in fabulous, ethereal costumes that looked to be woven right from the park itself, they both delivered their lines with just the right balance of authority and whimsy. And seeing them dance to Lady Gaga’s 'Bad Romance'? Iconic.
The quartet of star-crossed lovers were portrayed with zest and relatability. Eloise Newmann's Hermia showcased a fiery determination paired with comedic timing, artfully weaving modern inflections into Shakespeare's prose to great effect. Andrew Engelsmann, even while navigating the stage with a crutch artfully adorned in vines, delivered a charming Lysander, quipping memorable lines like, "I'd compare thee to a summer’s day but it’s too damn hot," much to the audience's amusement. Clare Thomson truly shone as the lovesick Helena, her performance brimming with genuine emotion and an endearing sense of desperation that made everyone root for her hapless pursuits. Max Kingsbury's portrayal of Demetrius was incredibly entertaining, with his hilariously exaggerated reactions of disgust towards Helena quickly transforming into lustful affection. His physical comedy and animated delivery added layers of laughter to every scene he inhabited, whether he was in the spotlight or subtly stealing scenes from the sidelines. His commitment to the character was outstanding—never missing an opportunity to throw in a sly gesture that made the audience giggle.
The group of amateur actors known as the Mechanicals brought us some delightfully misguided attempts at theatre. Jack Barrett stood out as Nick Bottom, completely owning the character's overconfidence and unapologetic flair for drama with gusto, especially when he improvised lines and dashed around the park in some entertaining slapstick moments. Tamzen Hunter's Quince, Braithe Ellis's Flute, Imogen Dodd's Snug, Emily Egan's Snout, and Rhys Schwarten's Starveling each added their own unique comedic touches to the ensemble. Their opening improv scene set the scene for their antics, and their "so-bad-it's-good" final play performance had the audience gleefully heckling and applauding in equal measure.
The fairies, featuring Annie Rose Paroz, Rayna Couper, Hannah McNamara, Sam McLaughlin, Molly Parker, and Roselie Chase, struck a delightful balance between grace and sass. Witnessing the fairies attempt to unite Helena and Demetrius through a lyrical twist of "Teenage Dream" (or rather, "Midsummer’s Dream") was enchanting. The fairies serenaded the audience with a Shakespearean spin on popular songs like "Sweet Dreams," and "The Final Countdown" and "Milkshake," transformed into a potion-brewing anthem ("My potion brings all the boys to the yard"). An unexpected delight was Titania leading the ensemble in a spirited version of "Toxic," cleverly reimagined as "Dost thou know thou art toxic?" The inclusion of "Never Gonna Give You Up" as a reconciliatory duet between Titania and Oberon was the ultimate rickroll that no one saw coming, but everyone thoroughly enjoyed.
Director Rhona Bechaz and assistant directors Hannah McNamara and Clare Thomson certainly deserve a round of applause for their imaginative approach to this classic play. They balanced a respect for the original text with creative modernisations, resulting in a production that felt accessible. Emma Parkinson's vocal direction ensured that each musical number was performed with skill, while Antoni Torrisi's choreography added layers of visual storytelling, blending traditional and contemporary dance styles.
The costume design by Lachlan Hall was a visual feast, with colourful pastels and intricate details that helped define each character's personality and status. The fairies, in particular, were adorned with outstanding makeup, elf ears, and glitter that sparkled under the sunlight, enhancing the otherworldly atmosphere. George Pitt's lighting and Madelin Simons' sound design overcame the challenges of an outdoor setting, ensuring that the audience remained immersed in the story despite occasional interjections from passing planes and pedestrians. I did find it a bit puzzling why some characters had microphones while others did not, though.
Their final performance took place on a picture-perfect day, with picnickers and theatre enthusiasts alike enjoying the sun and revelling in the spectacle before them. The cast’s high energy and dedication to their roles kept everyone engaged from beginning to end, with even the scene transitions providing moments of entertainment as actors incorporated the natural scenery into their staging.
By the time the final bows were taken, it was clear that VOX Theatre Arts had delivered a unique and memorable rendition of A Midsummer Night's Dream. VOX Theatre Arts managed to create a perfect fusion of Shakespearean witty prose, slapstick comedy, campy musical numbers, and colourful performances, resulting in a production that was as entertaining as it was inventive. I can just imagine Shakespeare himself enjoying it—maybe even tapping his foot to 'Buttons' as Titania fell head over heels for a donkey!
VOX Theatre Arts is excited to continue 'Shakespeare in Bloom' in Spring 2025, so be sure to keep an eye out for what they do next!
Comments