I have been fortunate to see this play many times, often in June and outside as befits the context when traditionally civilised folk would make the journey to a nearby woods to celebrate ‘midsummer’, on the longest day of the year. Midsummer was one of the most popular festivals throughout the early modern period that was celebrated with Morris dancing, processions, late-night drinking, the blessing of crops and the ritual banishment of devils and evil spirits. Similar to the festival of Twelfth Night (perhaps a more fitting play for January!) these festivals allowed room for subversion of the norm, transformation and inversion. Seeing this play, directed by Eleanor Rhode, on a chilly night in January may sound a little disorientating, but observing a group of Athenians in various love tangles in a balmy wood is perhaps exactly what is required; spring still seems some way off!

This production did not disappoint. It was one of the funniest interpretations of this comic play I have witnessed with Matthew Boynton deserving praise for his flawless poise, stretching and expressions as Bottom. The stage was minimalist with giant luminous balloons on which fairies were projected with a 1970s glam rock vibe throughout; a keyboard was played in the Pyramus and Thisbe scene. I wasn’t sure if moving luminescent dots gave a realistic impression of the fairies and their scene with Bottom felt a little ill-paced and rushed. Perhaps I am a purist for wanting a bit of foliage or glistening wings and to see the fairies as individuals! The Mechanicals play can often seem a fatiguing addition for the audience to stomach before Puck’s final monologue, though it was the highlight of the whole play. The Snout/Wall character’s suggestion that the hole in the wall was another part of the human anatomy caused a roar of laughter from the audience and the prolonged death scene with Thisbe’s ill-fitting wig was achingly funny.

The famous scene where Hermia and Helena turn on each other was brilliantly acted by all four ‘Athenians’ with physical humour predominating as Demetrius ended up sitting on Lysander (or was it the other way round) and the rock star Oberon swings precariously from a tree. Puck (played by Katherine Pearce) was highly original and her physical movements, dance and singing gave the role an ethereal and fantastical elevation without needing additional lights or digital effects. Indeed occasionally I felt some of the other words were swallowed by some snappy digital effect.

Famously Emma Smith wrote that educators were ill-advised to present young people with this play first as at heart it is sinister, erotic and perhaps the themes are too advanced.  If you look a little deeper, you will encounter more sinister echoes. Demetrius warns Helena he will ‘do thee mischief’ in the wood and Oberon arranges for his Queen to fall in love with ‘some vile thing’. The sinister tones were perhaps lost a little to the laughter, but the MPW cohort did not seem to mind. After all, we all need a bit of sunshine in January!