THIS is the second Shakespeare offering from the Everyman, following its inaugural production of Twelfth Night last year.
Whereas before, the events centred on efforts to use disguise and misconception to justify the phrase “I am not what I am”, this production achieves it through a far deeper exploration of Shakespeare’s darker imagination.
Instead, we now have decidedly guttural acts of spiteful retribution, twixt ill-met romantic intentions, between the upper echelons of the fairy kingdom and its worldly Athenian equivalent. All under the spell of bow-bent moonlight, sprinkled with mischievous malpractice and, above all, liberal use of mythical magickal concoctions. It’s a heady mix.
Judging by what newly-appointed Associate Director Nick Bagnall wanted, these are not harmless sylvan frolics but reminiscent of an ancient Glastonbury and much more macabre machinations. It employs the tension of personal animosities which spark the Fairy King Oberon’s desire to spread anarchic confusion far and wide. Well, at least up to the more guarded parts of the wood.
Dean Nolan’s hipster chieftan persona stands out as a commanding tour-de-force as both Bottom and Pryamus
Garry Cooper nails both parts of Theseus and Oberon with ease, imbuing a sense of vengeful menace which overlaps the two. His stage presence is awesome, particularly in articulating a decidedly misogynistic revenge on Titania [Sharon Duncan-Brewster who, also, played Hippolyta] through the wily antics of his diminutive fairy sidekick Puck [Cynthia Erivo]. They both gave sterling performances, draped as they were in silver sequinned ballgown [one foot shoeless] and top hat, tails and cane respectively.
The “ill-met-by-moonlight” love quartet introduces a good deal of new talent fresh from RADA and the Royal Conservatoire of Scotland. Hermia [Charlotte Hope] and Lysander [Tom Varey] who, having decided to elope following a threat of execution, flee to the supposed safety of the woods. Big mistake, for the other pair - Demetrius [Matt Whitchurch] and obsessed Helena [Emma Curtis] - soon follow, only to become more candidates for Puck’s impish interventions. If that weren’t all, the mechanical Bottom’s transfiguration to an ass-headed creature leads to an unlikely love-match with Titania of priapic proportions.
Welcome relief from these oft-confusing situations comes through the rehearsals, and eventual enactment, of a short play, within the play, involving Pryamus and Thisbe under the instruction of Peter Quince [Andrew Schofield] which includes Robin Staveling [Micheal Hawkins], Nick Bottom [Dean Nolan], Wall [stalwart Alan Stocks], Francis Flute [Lewis Bray] and Lion [Ozzie Yue].
Andrew Schofield as Peter Quince. Pictures: Gary CaltonSchofield’s exasperating task is to bring his unruly amateurs together, creating many anarchic moments where just his glance brings gales of laughter. But, of them all, Dean Nolan’s hipster chieftan persona stands out as a commanding tour-de-force as both Bottom and Pryamus, light on his feet yet larger than life, evolving sufficiently well to allow Lewis Bray’s innate talent to shine through as Thisbe – a far cry from his recently successful Cartoonopolis. Just proves how versatile they both are.
Given the Liverpool Everyman’s tradition for pushing back the boundaries of theatrical experiences, there were a minimal amount of props or, indeed, costumes and much was left to audience’s imagination. That is, apart from the bright-orange builders outfits which befitted the mechanical’s world of odd-jobbing and carpentry. They reminded me of the workmen at the opening of the Liverpool’s European Capital of Culture back in 2008. They later appeared in various guises as minor fairies Peaseblossom, Moth, Cobweb and Mustardseed – the whole ensemble undertaking occasional musical accompaniments.
The stage management team used the full repertoire of effects: ariel flights, immaculately-timed lighting and various hidden trapdoors to entice the audience into this other world. Huge mounds of paper appeared to be doubled up as beds, fairy glens and bowers, while the mechanical stage was set up piece by rough-sawn piece.
So, if the ambition was to make this memorably, magically, modern in scope, then it most certainly succeeded. If anything, it could be described as a bang-up-to-date austerity Shakespeare production – devoid of worldly excess and coldly clinical in the heartless abuse of power within both the mortal and fairy kingdoms alike yet.
The hallmark of good theatre should be that it has the power to challenge as well as celebrate Shakespeare to make a significant contribution towards its relevance to the present-day. This aspect, also, happens to be an essential part of the original legacy of the Everyman so, in terms of this production, it worked. And then some.
9/10
Evenings: Saturday 21st March to Saturday 18th April at 7.30pm (except Wednesday 1st, Friday 3rd, Monday 6th & Wednesday 15th April)
Twilight: Wednesday 1st & 15th April at 5:30pm
Matinées: Tuesday 31st March, Thursday 9th & 16th April at 1:30pm, Saturday 28th March, 4th, 11th & 18th April at 2pm
