Skip to main content

A Midsummer Night's Dream

King's Theatre, Edinburgh
Four stars

It may be a tad early in the year for Shakespeare's sunniest rom-com to come blinking into the light, but that hasn't stopped the all-male Propeller company from hitting the road with the frothiest of double bills, with Ed Hall's productions of the Dream and The Comedy of Errors playing the King's on alternate nights. Neither does it stop the array of long-john clad fairies, who drape themselves about a netting-lined stage before a stripey-tighted Robin Goodfellow, as Puck is credited here, bursts out of a box feet first as if from an upside-down toybox come to life.

As the cast of fourteen flit between the play's three worlds, what follows resembles a 1980s alternative comedy troupe doing an elaborately choreographed role-play. At first, Joseph Chance's Robin seems to call the shots, click-clacking chaos into the four young lovers all-night exploits with a wooden rattle. Soon it's Darrell Brockis' Oberon who's casting a spell, in a Dream which requires little of the usual doubling up of parts.

The Mechanicals are a Dad's Army am-dram group, whose cross-gender casting of Flute as doomed lover Thisbe is a knowing wink to Propeller's own men-only aesthetic. Alasdair Craig's gangling Flute goes from stupid boy to Barbie doll as Thisbe, eventually throwing an almighty strop at Bottom's Pyramus with a Dr Who scarf that becomes a deadly weapon. Accompanied only by a bell, a xylophone and some solitary harmonica drawls, this a knockabout Dream that prompts several ovations for its comic set-pieces, even as it revels in its own magic before the spell is ended and Puck must climb back into his box once more.
 
The Herald, April 18th 2014
ends

Comments

Popular posts from this blog

The Honourable K.W. Harman: Ltd Ink Corporation

31 Bath Road, Leith Docks, March 17th-20th

In a monumental shipping container down by Leith Docks, a Sex Pistols tribute band is playing Anarchy in the U.K.. on a stage set up in the middle of the room. Either side, various constructions have been built in such a way so viewers can window shop as they promenade from one end of the room to the next, with the holy grail of a bar at either end.

Inbetween, there’s a confession booth and a mock-up of a private detective’s office with assorted documentation of real-life surveillance pinned to the walls. Two people seem to be having a conversation in public as if they're on a chat show. An assault course of smashed windows are perched on the floor like collateral damage of post-chucking out time target practice. A display of distinctively lettered signs originally created by a homeless man in search of a bed for the night are clumped together on placards that seem to be marking out territory or else finding comfort in being together. Opp…

The Maids

Dundee Rep

Two sisters sit in glass cases either side of the stage at the start of Eve Jamieson's production of Jean Genet's nasty little study of warped aspiration and abuse of power. Bathed in red light, the women look like artefacts in some cheap thrill waxworks horror-show, or else exhibits in a human zoo. Either way, they are both trapped, immortalised in a freak-show possibly of their own making.

Once the sisters come to life and drape themselves in the sumptuous bedroom of their absent mistress, they raid her bulging wardrobe to try on otherwise untouchable glad-rags and jewellery. As they do, the grotesque parody of the high-life they aspire to turns uglier by the second. When the Mistress returns, as played with daring abandon by Emily Winter as a glamour-chasing narcissist who gets her kicks from drooling over the criminal classes, you can't really blame the sisters for their fantasy of killing her.

Slabs of sound slice the air to punctuate each scene of Mart…

Scot:Lands 2017

Edinburgh's Hogmanay
Four stars

A sense of place is everything in Scot:Lands. Half the experience of Edinburgh's Hogmanay's now annual tour of the country's diverse array of cultures seen over nine bespoke stages in one global village is the physical journey itself. Scot:Lands too is about how that sense of place interacts with the people who are inspired inspired by that place.

So it was in Nether:Land, where you could see the day in at the Scottish Storytelling Centre with a mixed bag of traditional storytellers and contemporary performance poets such as Jenny Lindsay. The queues beside the Centre's cafe were further enlivened by the gentlest of ceilidhs was ushered in by Mairi Campbell and her band.

For Wig:Land, the grandiloquence of the little seen Signet Library in Parliament Square was transformed into a mini version of the Wigtown Book Festival. While upstairs provided a pop-up performance space where writers including Jessica Fox and Debi Gliori read eithe…