RSC and Unicorn's Accessible 'A Midsummer Night's Dream' Charms Young Audiences
How can Shakespeare be made accessible to a young audience? Should the tricky bits be cut out, or should viewers be thrown headfirst into the original text? Co-directors Rachel Bagshaw and Robin Belfield have opted for a blend of both approaches in their new production of A Midsummer Night's Dream at the Unicorn theatre in London.
This tightly trimmed version of the Bard's romantic comedy retains the original language but weaves in playful captions fully integrated into the design, along with slapstick comedy throughout. The result is a fun experience in fits and starts, though it occasionally feels caught between two worlds, much like the characters in this woozily magical play.
A Collaborative Venture Finding Its Feet
This marks the Unicorn's first major co-production with the Royal Shakespeare Company (RSC), and it feels like the beginning of a brilliant venture that is still finding its footing. Belfield's editing is smart but could have been more radical. The framing story set in Athens, involving complicated business with dukes and betrothals, has been cut down but not entirely excised, which sometimes makes it harder to understand.
The magical elements are kept low-key and gently engaging. Titania's fairies are conjured up using childlike voiceovers, Holly Khan's delicate soundscape, and Will Monks' entrancing word projections that dance lightly about Lily Arnold's arts-and-crafts-like set. Joséphine-Fransilja Brookman's Puck wears bunches in her hair and feels like an impish schoolkid as she climbs up balconies, jumps on tyre swings, and happily causes mischief.
Standout Performances and Comic Set Pieces
The most lucid and enjoyable scenes are those featuring the rude mechanicals as they rehearse their hilariously terrible play. There's a whiff of CBeebies panto to these encounters, with actors dressed in neon costumes and delivering their gags with gusto. The hard-working ensemble jumps from playing heartsick lovers to hammy actors with real aplomb.
Boni Adeliyi is excellent as the spurned Helena, dignified in her sorrow yet, minutes later, fully committed to her role as a very silly and skittish moon. The standout star, however, is Emmy Stonelake as Bottom. They are a natural comic and talented Shakespearean, raising big laughs but never at the cost of the language. When Bottom is turned into a donkey, complete with huge floppy ears, Stonelake cries out, "This is to make an ass of me!" and is met with big laughs and heavy sighs.
Stonelake's performance exemplifies what works best here: Shakespeare made easy but carefully layered and effortlessly moving. The production also features strong performances from Shahin Rezvani, Scout Worsley, and Kaireece Denton, who contribute to the playful and punchy atmosphere.
Accessibility and Future Potential
This adaptation succeeds in making Shakespeare accessible through its integrated captions and comic set pieces, even if the pared-down plot can feel cluttered at times. It's a promising start for the Unicorn and RSC collaboration, offering a fresh take on classic theatre for younger audiences.
A Midsummer Night's Dream runs at the Unicorn theatre in London until 10 May, providing an engaging entry point into Shakespeare's world for children and families alike.
