A Midsummer Night's Dream (The Q) - Review

Went to enjoy A Midsummer Night's Dream at the Q tonight, and my oh my, was there never a dull moment. Since people liked my last Canberra Theatre review so much, I figure I may as well keep sharing these until someone tells me to stop.

I arrived fairly tardily (as usual), and was greeted by a cast member/usher with an awful lot of lip (Toby Breach), before unfolding me camp chair, planting it on the grass, cracking open a cold ice tea I had fetched from the service station beforehand, and awaiting the show in the Q’s new fancy shmancy outdoor area.

Now, before I continue, I feel I should warn you; I am no authority on Shakespearean productions. I don’t see a lot of em, and I haven’t done a lot of em. I’ve barely studied enough of him to have an inkling of an understanding of the words I’m hearing. But I’ll always try something more than once; with a cast and crew this stacked, and an admission fee of approximately $0, it was worth having a seat.

Needless to say, I’m glad I rocked up. Jordan Best and her team have produced a show as funny and mood-lifting as it is meticulously thought out. There is never a dull moment, as the brilliantly blocked scenes have your eyes glued to the scenes so much, you probably won’t notice the cast’s constant movements throughout the space, often in plain sight. The outdoor area utilises a minimal set, yet the “stage” never feels barren, nor does it bore. This can absolutely be owed to the cast’s larger-than-life performances, but it is the way in which the space is utilised, and Best’s direction efforts, that allow it to flow without buffer.

Onto that cast, every single head is on point and working their arses off, and it shows. The central four lovers are played to astute dramatic and comedic perfection. Liv Boddington’s Hermia is as tragically heartbreaking as she is frighteningly and brilliantly reactive. Isiah Prichard embodies both heartthrob lover and love-thirsty lunatic effortlessly and within the same breath. Caitlin Baker is a brilliant comic stand out with her incredible comedic timing and outstanding body language. And Jack Shanahan plays an infuriating sleezebag with panach, executing his performance with marvellous timing and hilarious slapstick chops.

Lainie Hart is fantastic as Oberon and Theseus, commandeering the play’s movement forward while also adhering to the comic theming, and playing along with absolute success. She works remarkably well as a wrangler for the often scene stealing Rachel Robertson, who saw the designation of Puck as a “goblin”, and clearly understood the assignment, revelling in the little devil’s mischievous nature, much to the delight of the audience.

The players were my absolute favourite; their comic energy as a group and individually had me in throes from the start of their segments to their end. From their first entrance to the stage, it was as if a circus had come to town, and we were all there for it. Jim Adamick’s Bottom stole the show with his bumbling buffoonery and often comical determination to his troupe’s assignment, stealing cackle after cackle from me especially. Callum Doherty's Flute pulls off a sneaky scene steal of his own towards play-within-a-play’s end that was absolutely unforeseeable and hilariously off-kilter. Kayla Ciceran’s fed up Quince balanced out the utter madness she was surrounded by, and provided a fed-upness that kept things ambiently droll, and Joshua James, Zoe Ross, and Sally Taylor all strongly supported with remarkable physical comedy, acute understandings of comic timing, and delightful contributions to the group’s already marvellously coloured comedic pallet.

The rest of the cast fill smaller roles that plug the show’s gaps and keep things swiftly moving along, and there was not one foot out of place. The entire cast, no matter the size of role or amount of lines spoken, were absolutely dedicated to their parts. Individual performances are worth praising, but it is the teamwork of an entire cast that truly elevates a show. And elevate the show, this cast surely did.

The tickets cost nothing. Support them if you wish. But there is not one conceivable excuse to not see this show. The directing is from one of Canberra’s best. The performances are all incredible. And the outdoor setting brought it all together for a truly magical night of theatre; it’s an experience you have nothing to lose, and everything to gain, by attending.

Moron attends A Midsummer Night's Dream. Image Credit: Oliver Winch