A Midsummer Night's Dream - The Rep ★★★★

“The course of true love never did run smooth”, observed William Shakespeare more than four hundred years ago, and this thought forms the premise of his comic play A Midsummer Night’s Dream. Its themes, including environmental change (inspired by the reality of mass deforestation to supply timber in his day) and who people are allowed to love, seem just as relevant today. It is fitting that this contemporary production is taking place at the Birmingham Rep, where the first ever performance of Shakespeare’s work in modern dress was staged in 1923 – a move seen as highly controversial at the time.

The plot revolves around four lovers – Hermia, Lysandra (a female character replacing the male Lysander from the original text), Demetrius, and Helena. They all run away to a magical forest, either to escape an overbearing parent or to chase the person they believe to be their true love. In the woods, they are confused and manipulated by mischievous fairies, who use love potions to cause romantic chaos and shift the focus of their affections. Meanwhile, a troupe of amateur actors (the “mechanicals”) rehearse nearby, one of whom becomes embroiled in the shenanigans when he is turned into a donkey by the impish fairies.

Adam Carver, better known as drag chanteuse Fatt Butcher, brings more than a sprinkling of mischief to the role of Puck, the fairy at the centre of much of the mayhem. Their performance is a heady mixture of pantomime and cabaret – think Widow Twanky with tattoos and attitude (“If you ignore me, I won’t go away!”). Carver has also composed additional songs for the character, which are belted out with powerhouse vocal dexterity. These complement the pop soundtrack (Eurythmics, Foreigner, Christina Aguilera), which continues the modern theme.

The highly comical part of Bottom, the actor who is transformed into a donkey, is played with tremendous relish by Omar Malik. His physicality and exuberance are two of the highlights of the show – he has a wonderful sense of timing and ability to squeeze laughs from the slightest of situations. It is remarkable that the cast features no fewer than three actors who are making their professional debut here – Evie Ward-Drummond (Lysandra), Charlotte Wallis (Helena), and Lottie Beck Johnson (actor Starveling/fairy Cobweb). All three give assured, impassioned performances.

At its heart, this production is a love letter to the West Midlands, with half the cast (like Shakespeare himself) hailing from the region, and the staging representing the rich cultural diversity of Birmingham through music, dialects, and sets. The latter, designed to great effect by Carl Davies, transports the audience to a range of realms; from the otherworldly enchantment of the forest to the industrial backdrop where the mechanicals meet, complete with contemporary nods towards the second city’s rag market and food banks. Davies has also designed the sumptuous costumes, which provide a feast for the eyes, incorporating elements of different traditions such as the West Indian finery of the Fairy Queen (Ellena Vincent).

With so many different influences providing inspiration for the show, it’s not surprising that there are occasional moments which don’t quite work, and with a runtime akin to a football match, the first act does feel a tad too long. That said, there is much to savour in this production of A Midsummer Night’s Dream, which can be summed up in one local word – bostin’.