Category: Review

Review, Theatre, Whats On

Nothing But Roaring Presents THE MERRY WIVES OF WINDSOR

Fast, fresh and funny – just as farce should be

By Narelle Wood

The Merry Wives of Windsor is Shakespeare, (almost) as it should be; there are minimal sets and theatre-in-the-round style seating – the only differences are modern costumes, a roof on the theatre, female actors and a One Direction reference or two.

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It’s not a play that I’m familiar with, but it follows all the main plot points of a classic Shakespearean farce that makes it instantly recognisable. The farce is based on making a mockery of John Falstaff (Tom Considine) who declares that he shall seduce not one but two of the wives of Windsor. The wives of Windsor, Mistress Ford (Carole Patullo) and Mistress Page (Helen Hopkins), upon hearing this decide that revenge through humiliation will be a befitting antidote for Falstaff’s lustful and presumptuous ways. As is the case in most Shakespearean plays, the minor characters wield havoc as they manipulate and betray each of their masters, and this results in the one not-so-merry husband of Windsor (Master Ford played by James Wardlaw) planning an entrapment of his own to prove his wife unfaithful. Meanwhile several suitors vie for Anne Page’s (Jing-Xuan Chan) hand in marriage, which adds to the intrigue as lies are told and deceit unfolds.

There is so much going on in this play, with twists in plot and a number of soliloquys and asides, that the minimalist approach of basic set and lighting is a welcomed relief. For the most part the Shakespearean language fluidly rolled off the casts’ tongues, as would be expected of actors of this calibre, but it also means that the dialogue is unapologetically fast. There is also an unexpected challenge in deciphering the Bard’s prose; Shakespearean language mixed with a Hugh Evans’ well-articulated Welsh accent made sure I was definitely concentrating on what was being said.

The actors all played multiple characters, with small costume changes signalling the character changes, and they all effortlessly morph from idiot suitor to jock-houseboy, from simple houseboy to jealous husband or whatever other transformations are required. The actors, under Rob Conkie’s direction, also make impressive use of the space; not once, even with the actors’ directing their attention to the other seating areas, did I feel excluded from the performance. The farcical nature of the plot was often reflected in the physical performances of the characters, gesticulating, groping or gyrating for humorous effect.

It’s hard to shy away from Shakespeare in a year that marks the 400th anniversary of his death. There will be a lot of Shakespeare on offer but The Merry Wives of Windsor is an amusing tale and this production makes for a very merry evening indeed.

Venue: Fortyfive Downstairs, 45 Flinders Lane Melbourne

Season: Until Sunday 1st May, Tuesday-Saturday 7.30pm, Sunday 5pm

Tickets: Full $38| Conc $28

Bookings: www.fortyfivedownstairs.com

Performances, Review, Theatre

Hungry Wolf Theatre Presents ORPHANS

Fraternal bonds are set to break

By Myron My

The bond between brothers, or any siblings for that matter, is a bond for life. After all, as the adage goes, you can choose your friends but you can’t choose your family. Lyle Kessler’s Orphans, two brothers share the pain of having a mother who has died and a father that has abandoned them. While both of them choose to deal with the pain and protect themselves and each other in different ways, emotions gradually reach boiling point where something has got to give.

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In Hungry Wolf Theatre‘s current production, Mark Davis as younger brother Phillip continues to impress me with his ability in bringing his varied characters to life. It’s testament to his skill and talent that Davis is physically and emotionally the complete opposite to the character I last saw him in: Q44‘s brilliant production of Sam Shepard’s Fool For Love last year. The machismo and hot-bloodedness of Eddie is nowhere to be seen in Phillip, an innocent, sheltered individual who falls somewhere on the high-functioning Autism disorder spectrum. It is almost like the performer has ceased to exist as each movement, each stare, each thought process is overtaken by Phillip and for a show that goes for over two hours, it is a challenging feat that Davis smashes through.

Danny Zivaljevic as the older, more volatile brother, Treat, has a strong presence on stage and physically captures the anger that is boiling inside the character. It’s an anger that we recognise if Treat doesn’t control soon enough, will eventually be his undoing. I confess I would have liked to see Zivaljevic try and work more with the subtleties and the nuances of these anger issues that would have allowed Treat to feel like a better-rounded character. Meanwhile, Sebastian Gunner is much at ease with Harold, finding the perfect balance between his comedic, threatening and sensitive nature.

The committed performances from the actors are unfortunately let down by a script that for me lacks true suspense or tension and doesn’t seem to lead anywhere – nor does it explore the characters’ relationships to the depth that I feel would be more rewarding for the audience. However,  Peter Blackburn’s strong direction here and use of the space builds a claustrophobic and still somewhat suspenseful environment within the confines of the brothers’ living room.

Despite the script not being as engaging as I would have liked it to be, the captivating performances alone are worth seeing in this production of Orphans by Hungry Wolf Theatre.

Venue: Gasworks Arts Park, 21 Graham St, Albert Park, 3206
Season: Until 23 April | 3pm and 7.30pm
Tickets: $30 Full | $20 Conc

Bookings: Gasworks Arts Park

Musical Theatre, Review, Whats On

Pursued by Bear Presents TICK TICK BOOM

Engrossing and innovative musical theatre

By Sally McKenzie

Tick Tick Boom is a cleverly-written one act musical which beautifully illustrates the struggles of the composer Jonathon Larson (who also composed Rent) to ‘make his break’ in the world of musical theatre.  In this new production presented by Pursued By Bear, I was captivated from beginning to end. I doubt you will find a better portrayal of this autobiographical piece by Larson.

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Upon entrance to ‘The Loft’ performance space at Chapel Off Chapel, we are immediately immersed in the ‘chaos’ of Larson’s musical mind as we walk on a floor covered in pages of sheet music, and are surrounded by a clutter of suitcases and neglected musical instruments randomly stacked against walls.

In the middle of this there is a floor-boarded stage, slightly raised with a piano as the centre piece. Three wooden chairs are the only other set pieces on this stark performance space. A dozen hanging exposed light bulbs also frame the space, helping to bring a distinct realism to the set.

The role of Jonathon Larson is played by Luigi Lucente. He is simply brilliant. The audience immediately empathizes with the heightened anxiety of his character and – through the passing of time (which is likened to the strict timing of the metronome) – are captivated with his journey as an artist.  Lucente is compelling as he delivers his soliloquies to the audience. Through superb timing and natural alliance with the character,  he is able to bring out the comedy in an otherwise ‘serious’ plot.  Moreover, Lucente is perfectly cast as he also is an impressive musician/pianist and rock vocalist. His playing of the piano is interwoven superbly into the music of the show. His performance of ‘Why’ was particularly moving, and the ‘out of tune’ piano was a perfect vessel for his emotions.

Angela Scundi gives a solid performance of the role of Jon’s girlfriend Susan, and effectively doubles as other characters throughout the show.  Her rendition of ‘Come To Your Senses’ was very well-received by the audience. Quin Kelly depicted the more conservative character of Michael, which was an apt juxtaposition to the spirited nature of ‘Jon’. Although his voice didn’t quite seem suited to the more contemporary style of the show, but he brought a lovely energy to the ensemble-style cast. Mitch Roberts and Rebecca Heatherington provided extra vocal harmonies for songs and portrayed their cameo roles with conviction. Their presence in the Sondheim parody ‘Sunday’ was particularly engaging.

Paul Watson’s direction is stunning and completely fitting for the venue. The multiple uses of the piano as a set piece and the ‘domestic’ lighting doubling as the perfect tools to create the needed intimacy of such a personal story are just two examples of his stylish creative choices. His ability to convey the different tensions in the space with the positioning of actors alone is impressive.

The musical direction by Jess Barlow is well-executed. Vocal harmonies are tight and the band is well-balanced with the vocalists. There was the occasional imbalance of vocal harmonies (the men sometimes overpowering the women), but this did not deter from the enjoyment of such a fabulous score.

Tick Tick Boom is playing in The Loft at Chapel Off Chapel until May 2nd. Tickets can be booked online at http://chapeloffchapel.com.au/ticket-sales/

Comedy, Festivals, Review

MICF 2016: Zoe McDonald in GOOD MORNING MOFO

Promising characters invite solid laughs

By Myron My

Zoe McDonald’s one-woman, multiple-character comedy show Good Morning Mofo begins before it even begins. As we enter the “studio”, Channel 8 intern, Jenny, “who’s not getting paid but really happy to be here” anxiously seats everyone and ensures all health and safety issues are recognised and everyone is comfortable. After a brief audience warm-up, Channel 8’s morning show Brunch begins with host, Chloe Davis, introducing us to Women’s Week, where the whole week of episodes  will be devoted to issues that are important to women. A whole week!

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The sly and satirical ‘hot’ topics include how bad invisible panty lines are, and how to lessen the harsh reality of laugh-lines on your face. McDonald introduces us to a variety of women both in front and behind the camera of Brunch, including weather reporter Rochelle, Pamela from wardrobe and Anita from make-up.

McDonald does stellar work with her slick impersonations and the voice and demeanour of Chloe Davis in particular feel very real, as if she actually belongs in a TV show that is the love child of 60 Minutes and Frontline. This is where the humour in the show really finds its stride and feels less forced than at other times. The subtle anxieties that Davis feels about her career and future employment opportunities could even have been explored further though as they seemed to bubble on the surface of something much more poignant.

It is clear and worthwhile what McDonald is trying to say about the representation and treatment of women in the news and entertainment industry: however, by having so many characters appear throughout the one-hour show, the script feels a little disjointed and the connections we seek with the characters don’t always manifest.

I felt the $10,000 cash-prize phone call segments between Davis and “bogan” winner Jessica Murphy could easily have been removed without impacting the show in a negative way. The scenes with the talent agent brought to the surface the issues older women face in a seemingly younger woman’s world, but the extreme way in which she was portrayed made her feel less genuine and sympathetic as a person and more of an overt caricature.

Good Morning Mofo does well in providing the laughs to the audience as it portrays a variety of interesting women all trying to make it in the cutthroat television industry and struggling to be treated as equals regardless of gender, age or appearance. With some refinement over whose story McDonald is working to explore, these important concerns will become stronger, clearer and resonate even more with the audience.

Good Morning Mofo was performed at the Malthouse Theatre as part of the Melbourne International Comedy Festival between 23 March – 17 April.

Opera, Review, Whats On

Victorian Opera’s LUCIA DI LAMMERMOOR

Blood, tears and glorious music

By Bradley Storer

Lucia di Lammermoor, Donizetti’s classic bel canto tragedy made famous by our Dame Joan Sutherland, is brought to the stage of Her Majesty’s Theatre by Victorian Opera, this star-vehicle appropriately lead by international star Jessica Pratt in the title role of Lucia.

Victorian Opera 2016 - Lucia di Lammermoor © Jeff Busby.jpg

Despite Henry Bardon’s wonderfully atmospheric and decrepit set (whose variations remain a highlight throughout the evening), the opening scene was very statically and somewhat muddily directed. The male chorus lacked strong direction or intention, but held together under the performances of José Carbó as Enrico Ashton and Jud Arthur as Raimondo. Lucia’s entrance in the next scene, amongst a well-timed eerie burst of onstage fog, was more effectively staged, drawing gasps from the audience.

Pratt is clearly comfortable and confident in the role of Lucia, capably navigating the dramatic arc of Lucia’s journey from innocent love-struck girl to her doomed fate, with a sweet and agile soprano that even in the harsh acoustics of Her Majesty’s could be heard in every corner of the theatre. Her acting choices can be a little odd at times – Pratt beams intermittently through her first aria, the ghostly and ill-omened ‘Regnava Nel Silenzio’, which is a little at ends with the dramatic situation (but feels more appropriate in the following cabaletta ‘Quando Rapito’). At times she can feel a little too controlled, never relaxing fully into the role until the famous and vocally-Olympian mad scene, ‘Il Dolce Suono’, where her soft but intense singing touches the heart even as her coloratura thrills.

Carlos E. Bárcenas as her lover Edgardo has a magnificent tenor voice, at points taking notes higher than even the score indicates to astounding effect. Dramatically though he seems lost, never entirely confident in the role and lacking connection and chemistry with Pratt, which means the last scene depicting Edgardo’s suicide tends to drag.

Carbó manages to find every colouring in the desperate Enrico, abusive to his sister one moment then conciliatory and pleading the next, and his scenes with Pratt are quite possibly the dramatic highlight of the show. Arthur as the priest Raimondo is an authoritative presence, and he received massive applause on opening night. Richard Mills draws out a wonderful performance from the Victorian Opera orchestra, as well as the onstage chorus who are impeccable vocally.

Overall, a worthy re-visiting of the classic opera with a commanding lead star at its centre – a worthwhile night at the opera for any theatre-lover!

Venue: Her Majesty’s Theatre

Dates: Tuesday April 12th, Thursday 14th, Saturday 16th, Tuesday 19th, Thursday 21st

Time: 7:30pm

Booking: www.ticketek.com.au

Image by Jeff Busby

Comedy, Festivals, Review

MICF 2016: Martin Dunlop in MURDER, HE SPOKE

This one-man murder mystery pleased its fans

By Margaret Wieringa

Welcome to the estate of Howling Grange, where there has been a murder – Lady Hamblin has met an untimely death, and some non-policeman investigator has decided to get to the bottom of it.

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Martin Dunlop wrote and performed this exhaustive forty-five minute one-man show and he is certainly a man of the pen. His dialogue is often clever and witty, but unfortunately some of his lines were lost in the performance space. This is my first time in the Pleasance House, a beautiful building, and this indeed is a beautiful room with gorgeous floorboards – that unfortunately makes for terrible acoustics.

Murder mystery as a show concept is professedly not original, and Martin plays on this with a script heavily referencing pop-culture detectives from his despised Sherlock Holmes to the relatively obscure Pie in the Sky. However those tales of mystery generally made sense, whereas I confess I became totally lost in this one.

Somehow, if this is possible, I fear the script seemed to be both underwritten and overwritten. In paying homage to this iconic genre, there needed to be a clearer direction through the performance so that – even keeping the absurd nature of the piece – there is some plot satisfaction for the audience. But I also felt the dialogue needed to be trimmed right back – there was a lot of repetition that could have been worked around to have things revealed more cleverly. Unfortunately the transitions between characters and the transitions between scenes also felt really clunky and took away from the flow of the performance. Perhaps having a professional director step in during the process to help draw the performance pieces together, or even working with a second performer would have allowed the cleverness and potential of the script to really shine.

Having said all of that, the night I attended the room was full and the audience thoroughly enjoyed the performance, laughing long and loud. So even if Murder, He Spoke didn’t quite work for me, this show might prove to delight the armchair detective in you this 2016 Melbourne Comedy Festival.

Where: Pleasance House, Level 4, 178 Collin St

When: 5-17 April, 9:15. No shows Monday nights

Tickets: http://www.comedyfestival.com.au/2016/season/shows/murder-he-spoke-martin-dunlop

Comedy, Festivals, Review

MICF 2016: Dan Pavatich in #1NINJA

Self-help guru for would-be warriors

By Margaret Wieringa

#1 Ninja is a motivational seminar to help you “unleash the Ninja within”  – well, if that doesn’t suggest that you’re going to see a show that probably contains a fair whack of absurdity, I don’t know what will! Dan Pavatich, along with Ivy Latimer and Andy Balloch, take the audience through a variety of sketches joined by the running theme of this seminar.

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The concept was quirky and original, but unfortunately the show seemed quite underwritten. I’m a great fan of repeating gags in shows as a kind of call-back, or to make a different point, however in this show there didn’t seem to be any real point to them.  It was a bit of fun certainly, but took away the opportunity to develop the material. However, I have to say I also had a problem with the material. I do not think there was any intent behind it, but there were parts of this show that I found bordering on offensive. The material wasn’t strong enough to actually be offensive, but in 2016, I don’t think you can parody women and ‘gays’. Not unless you are actually making some clever points.

The performers onstage were all quite talented, although all three seemed to have trouble staying focused. Being at a venue called Improv Conspiracy, I wondered if maybe the show was improvised in places, but if it was going to be, maybe let the audience know so they can appreciate it?

There’s a lot of potential here – good performers, unusual concept, some absolutely gold comic lines – I felt it just needed a strong director to come in, pull it all together, ditch the ‘dodgy’ stuff, and give the whole thing a tighten-up.

Also, a hint for attending shows at The Improv Conspiracy – there are no Comedy Festival banners or anything else telling you where to go. Look for a door at the bottom of the Loop Project Space building. There was a doorman, but no indication it had anything to do with comedy. Melbourne Comedy Festival – more info in the program would be helpful. Venue folks – perhaps make a sign or something!

 Where: The Improv Conspiracy Office Space, Level 1, 19 Meyers Place, Melbourne

When: Thursday – Saturday, 8pm, Sunday 7pm March 24 – April17

Tickets: improvconspiracy.com $20/$16

Review, Theatre, Whats On

CDP Production’s THE 52-STOREY TREEHOUSE

Three intrepid young fans share their thoughts on the latest Treehouse play

By Ben, Riley and Harry Costello

Andy Griffiths and Terry Denton‘s book The 52 Story Treehouse has been turned by Richard Tulloch into a breathtaking and humorous theatrical performance staring Alex Duncan, Zoran Jevtic, Jane Mahady and Jack Starkey-Gill, as Terry, Andy and Jill (the characters) set out on a quest to find the missing book producer Mr Big Nose. I was surprised that there was even time to complete this quest within the one-hour show. They had to find a way of overcoming the “evil vegetables”. Will they find Mr. Big Nose?

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I enjoyed the way that the one set could be a part of every scene in the show. The actors knew all of their lines and delivered them very professionally but with enthusiasm, keeping all of the audience engaged at all times. Often the kids in the audience would start dancing in their chairs when Terry and Andy started singing. The cast were word perfect in every scene. Perfectly cast, my favourite character was Jill (Jane Mahady). Her personality that Andy Griffith had portrayed in his book really shone through and had me hanging off my seat with every word she spoke. The actual story-writing and the scenario is so close that the two storylines meld into one another easily, allowing the viewer to get lost in the production.

The production crew was fantastic with the lighting, sound and the stagehands running a seamless show. The costumes were appropriate and greatly contributed to the look of the show, in general they looked nice, neat and were not over-the-top.

This experience was entertaining and an enjoyable afternoon for the whole family. The age group was appropriate from ages 6- 106yrs.

The show runs from April 1st until April 17th at the Melbourne Arts Centre CBD.

Tickets selling now ranging from $29.00 to $43.00 at https://artscentremelbourne.com.au/whats-on/families/the-52-storey-treehouse

But remember you have got to get in fast as tickets are selling quick and you don’t want to miss out on this fantastic holiday experience.

(By Ben, Age 12)

Well if you ever had the urge to climb a 52-storey treehouse then today would have been the day to do that. Sucked in by the storyline, our characters took us exactly where we wanted to go, as  Terry, Andy, Jill and Edward set off on a task to save Mr Big Nose the publisher, from evil vegetable Potato Prince (needless to say nothing went to plan!).  Now reading this you might find that the plotline is a child’s play, however my father who came along also enjoyed the jokes. From the very beginning the characters, in particular Terry, had me laughing. He reminds me so much of myself that I couldn’t help laughing at the silly things that he did such as running around with underpants on his head and walking steep hills to find that were in fact a tram travels in the same direction. Above all this show is worth seeing for nothing less than a good afternoon of family fun. A laid back enjoyable performance for myself as a 9 year old and my 6 and 12 year old brothers and my parents. I’d definitely like to see it again.

The 52 Story Treehouse is sure to be a big hit with children and adults alike who have become recent fans of the director Liesel Badorrek and the famous children’s literary legend Andy Griffiths.

Watch out for the Potato Prince and be sure to be completely prepared for a wow of a time.

(By Riley, Age 9)

I would love to have a backyard as magical as this one!

I loved the way that it took place in the treehouse, I never would have thought of that! It reminded me a little bit of Peter Pan, except I was a little confused that it was set in a treehouse and of course there was no fairy dust! The songs made me feel excited and like I wanted to be to on stage helping solve the mysteries.

It was particularly entertaining when they climbed up the hill to the castle and Jill woke up. She let them know that after they had been struggling up the hill that there was a tram going the same way. The Potato Prince was also very funny and made me laugh, especially when he was trying to kiss Jill, he couldn’t get down to the ground because he was a potato and she was disguised as a carrot, a bit like Mr Bean).

It was set in a treehouse that the cast were able to climb in and sit on. It was not set on a flat stage on the ground like a normal theatre, which made it very exciting to look at. I think the ages for the audience could be anything from 1 to 100 as it was fantastic to watch and not at all inappropriate for any age groups. I am looking forwards to seeing Andy Griffiths next theatre production.

(By Harry, Age 6)

Musical Theatre, Review, Whats On

Vic Theatre Company Presents THE 25TH ANNUAL PUTNAM COUNTY SPELLING BEE

A superb production of this very funny musical

By Sally McKenzie

The 25th Annual Putnam County Spelling Bee sounds, on paper, like a very interesting concept for a musical. However, with an original and at times beautiful score by William Finn, hilarious dialogue (some written by Rachael Sheinkin and some improvised by each new cast), and the inclusion of four audience participants as extra spellers, Spelling Bee is one of the funniest, most creative musicals to come out in the 2000s. This production, performed by Vic Theatre Company, is no exception.

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The story centres on a group of six children (played by adults), the man and woman running the bee, and the comfort counsellor, all of who are dramatically affected by one day at the ‘Bee’.

In this production, the sound designed by Marcello Lo Ricco is excellent, with the band well-balanced and never overpowering the singers. Once or twice a solo line was unable to be heard over the ensemble, however; never at a critical point. Lighting by Jason Bovaird was well-designed, with the dialogue happening under stark lights reminiscent of the gymnasium setting, and the lighting during the songs more ‘stagey’, with spots and bright colours, often to great emotional and dramatic effect.

Rebecca Moore as Rona Lisa Perretti is placed and poised with a beautiful ‘legit’ soprano voice that suits the role perfectly, although is perhaps a little young for the role.  David Spencer plays a less exaggerated Panch.  Mahoney (Matt Heyward) was vocally well-suited for the role, although his character came across as perhaps a little too ‘mellow’ and understated.

The Spellers are where the show really shines. It was refreshing to see now well-worn characters played in different ways than the usual. Chip (James Coley) executed his ‘jock’ role perfectly. Olive’s character (Caitlin Mathieson) was played as ‘realistic’ and mature. Although a convincing and heartfelt performance, it left a couple of her usually ‘funny’ lines falling flat.  Sage Douglas as Logaine and Henry Brett as Leaf both managed to find subtleties and levels in characters that are often played ‘over-the-top’. They were both adorable, and Teresa Duddy (Marcy) also executed her role well. Special mention to Riley Nottingham as the Janitor, who managed to be hilarious without a single line of dialogue.

Direction, by Ben Giraud, is clever. He makes innovative use of the space, and it was nice to see the more movable chairs instead of the static bleachers commonly used.

Musical direction, by Trevor Jones, is excellent. It was very fitting to see the talented musicians in the band aptly dressed in school uniform and reacting to the action on stage.  Vocal harmonies were perfectly balanced and executed. Choreography by Bernie Bernard is also extremely creative and unique, matching the moment perfectly.

Costumes, by Zoe Felice, are well-suited and strike just the right balance between outlandish and everyday. Meanwhile the set by William Bobbie Stewart is highly creative, with yellow tarps lining the walls, paper cut-out bees and banners hanging down, and the floor painted as a gymnasium floor.

Overall, Vic Theatre Company’s production of The 25th Annual Putnam County Spelling Bee is excellent, both side-splittingly funny and heart-wrenchingly beautiful, and well worth checking out whether you’ve never heard of it, or you’re a well-worn veteran, like myself. You won’t be disappointed.

The 25th Annual Putnam County Spelling Bee is playing at The Lawler from 30th of March to the 10th of April.  Bookings www.mtc.com.au  | 03 8688 0800

Image by James Terry

Review, Theatre, Whats On

Melbourne Shakespeare Company’s A MIDSUMMER NIGHT’S DREAM

Thoroughly won over

By Caitlin McGrane

A Midsummer Night’s Dream was the first Shakespeare play I studied at school, and thus while it holds a special place in my heart, certain scenes are forever etched into my memory. As the Melbourne Shakespeare Company’s production got underway, I was sceptical whether the blend of contemporary music and iambic pentameter were going to be a match. I needn’t have worried, as the performance rolled steadily onwards, and the actors became more comfortable in their roles, I felt completely at ease with the way the story was being told; the audience was in safe hands.

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For the uninitiated, the play entwines the stories of two groups; the Lovers: Hermia (Christina Forrest) and Lysander (Khrisraw Jones-Shukoor), Helena (Alisha Eddy) and Demetrius (Charlie Sturgeon); and the Players: Bottom (Johnathan Peck), Flute (John Reed), Quince (Ben Frank Adams), Snout (Ben Noel Adams), Snug (Nick Murphy) and Starvelling (Myles Tankle).

Hermia and Lysander are forbidden to wed, so flee Athens, hotly pursued by Helena and Demetrius. While fleeing they wander into a forest bewitched by faerie King Oberon (Steven Fleiner) and Queen Titania (Angela Lumicisi), with help from mischievous Puck (Paul Robertson). There’s magic potions, asses heads and lots of shouting about love as the magical beings play with the lives of the mere mortals, meanwhile the players are rehearsing the play Pyramus and Thisbe to perform at Theseus (Karl Sarsfield) and Hippolyta’s (Madi Lee) wedding. Confused yet? You should be.

As an ensemble the cast was great, I was initially wary of the players’ boisterous gallivanting and gadding about, but by the end of their first proper scene together I couldn’t wait for them to reappear. I was particular impressed by Johnathan Peck’s unique and profoundly physical take on Bottom as a sympathetic but emotionally fragile simpleton, and I need a GIF of him performing the death scene from Pyramus and Thisbe to play on a loop at my funeral; I laughed so much I cried and am still laughing thinking about it now. Christina Forrest’s Hermia was similarly energetic and gravity-defying, which helped prevent the inherently dialogue-heavy play from getting bogged down in its own trickery.

I enjoyed the silly playfulness that director Jennifer Sarah Dean has brought to the play, although moments of the Pyramus and Thisbe performance would benefit from tightening to avoid relying too heavily on slapstick. Designer Simon Bowland has done an excellent job with costumes and make-up (faeries looked suitably bedazzled), but it did look like Oberon had wandered out on stage in his dressing gown and slippers and didn’t quite match the majesty of Titania – if this was a deliberate move then I’m afraid it was lost on me. Save for a few moments where the play sagged towards the end after all the frenetic activity, it was thoroughly good fun.

Beautifully nestled in Testing Grounds just behind the Arts Centre, City Road and the Southbank apartments provided a peculiarly complementary backdrop for this contemporary adaptation of a true classic.

A Midsummer Night’s Dream is playing at Testing Grounds twice each day on 26 and 27 March 2016. Tickets available from: http://www.testing-grounds.com.au/calendar?view=calendar&month=March-2016