A Midsummer Night’s Dream at Regent’s Park Open Air Theatre – review

In this evening’s programme, the Regent’s Park Open Air Theatre claims to have staged nearly 50 productions of A Midsummer Night’s Dream. It’s no surprise, perfect setting that it is for this fairy forest adventure: nestled deep in the park, tall trees bow and whistle around the stage, birds chatter among the branches as the sun sets. The outside world can be faintly heard, a small reminder that you are crossing the threshold into the fantastical.

Atri Banerjee’s production, however, seems bent on working against the space. Amphitheatre-like steps cover the stage, reminiscent of a school assembly, and while a large curtain covers the back, giving hope for the big fairy forest reveal, what we get instead is a photo of a forest for backdrop. Most infuriating, doors and windows open throughout, revealing that directly behind this backdrop is an actual woodland, left unused. The rest of the production is similarly infuriating.

Composer Maimuna Memon has created a slick pop band out of Titania’s fairies, singing lines just spoken, on repeat. There are times in which the musicians are merely playing in the background, humming lulling harmonies, gently bowing violin and cello, which is unarguably delightful. But when the lyrics kick in, something about their placement feels forced.

The performances themselves are strong, as would be expected at the Open Air. Olivier Huband and Jenny Rainsford have fantastic chemistry as both Hippolyta and Theseus, and Titania and Oberon. Rainsford seems almost drowsy with power, her limbs luxuriously heavy in their movements, while Huband has a boyish swagger.

The lovers are all sufficient, but Mary Malone stands above, sass meeting feebleness, creating some excellent comic timing.

Nadeem Islam as Bottom is appropriately endearing and annoying in equal measure. Incorporating sign language into his performance, the role becomes much more physical, and while it’s mostly played for laughs, there are moments in which Islam’s signing lends an unexpected poignancy to this otherwise clownish role.

Georgia Bruce works hard as Puck, but the casting forgoes Puck’s sinister edge and opts instead for a childish glee. Which could be said of the whole production.

Dream is a summer staple in UK theatre, owing not just to its ideal lush woodland setting, but also to its wit and whimsy. The brilliance of it, however, is found in its underbelly, the darkness creeping below the surface; the ominousness of fairies drugging mortals in their sleep, of Hermia’s death sentence should she not marry Demetrius, of true love being so changeable. It’s this, mixed in with the fancy and reverie, that gives this play its backbone. But perhaps in an attempt to attract a less likely audience, Banerjee has drowned all of this in a wash of wholesomeness and uncomplicated joy, which might sound nice but makes for a boring production. They could call it a Midsummer Night’s Nap.