Opera North presents Martin Duncan’s unique interpretation of Shakespeare’s classic, ‘A Midsummer Night’s Dream’. Originally conceived by composer Benjamin Britten in 1960, and first performed by Opera North in 1982, this refurbished mounting of the company’s 2008 production is faithful to the period in which it originated- in all its psychedelic, musically enhanced glory.

The curtain rises to reveal a whitewashed backdrop of corrugated, translucent plastic which forms the basis of the late Johan Engels’ set pieces throughout the performance. Seemingly levitating, a series of bubble-like structures hang above the stage in line formation, rising and falling fluidly during scene transitions. Much is left to be inferred from the semi-transparent nature of the set, and how it intertwines the Bard’s narrative’s many layered arcs.

Costume design by Ashley Martin-Davis is authentic to the 1960s and is constructed to brilliant effect. The effortless sequins of The Fairies and flower-power palettes of The Lovers harmonise in their contrast to The Players, who are clothed in industrialised, muted tones.

Bruno Poet’s original Lighting design (revived by Richard Moore) effectively captures the hallucinatory nature of both the time and the book itself, with conflicting colour combinations sharing the space and working harmoniously to underpin the piece’s subsequent design elements.

Famously convoluted, ‘A Midsummer Night’s Dream’ is a lengthy tale and to adapt and perform such a juggernaut through the medium of music is not a task for the faint of heart. The cast are generally exceptional; embodying each character with the melodramatic edge in which they were originally coined. As the famously mischievous Puck, Daniel Abelson is pure, physical embodiment. Less sung but potent in his stage presence, Abelson’s portrayal is the snappy tonic to Britten’s slightly lethargic score.  

As Hippolyta, Molly Barker makes her entrance in Act 3 and absorbs the attention of the audience. Her portrayal is wonderfully powerful and goes to prove that there are no small parts when they are performed to such high-standards.

Henry Waddington’s stellar turn as Nick Bottom is ironically scene-stealing from the moment he sets out on stage, intent on performing every role of ‘the play within the play’. A vocal triumph, his energetic and fully-rounded performance is the memorable take from the entire production.

As entertaining as the production often is, its three-act run time sometimes proves overbearing. Act 1 is a slow-burning introduction which sometimes lacks the projection required for an unamplified performance. As such, it brushes closely alongside tedium in parts. Leading on from a solid Act 2 but already some two hours into the runtime, Act 3 is overlong and almost too faithful to the original text. When so many liberties have already been taken to adapt the narrative into operatic form, a slight trim of the fat wouldn’t go a miss to ensure the piece stays buoyant without falling flat. Some of the choreography also misses the mark, but then again, at the opera- it isn’t necessarily what people have come to see, however jarring it may be.

Opera North’s now classic reimagination of a Shakespearean powerhouse may not always be the total dream that it sets out to be, but it’s joyful invitation to the world of opera- accessible in ways that many are not.

Further information on the production can be found here.

Tickets gifted in exchange for an honest review.

Photography by Richard H. Smith.