A Midsummer Night’s Dream. Perhaps William Shakespeare’s most endearing comedy, presented at the Queen’s Park theatre by a talented troupe of players, and an inspired directorial and technical team.

Entering this jewel of a theatre in the heart of Burnley’s parklands, we were aware of an open stage, showcasing a minimalistic, but effective set leaving us in no doubt that this was ancient Greece with its doric palisades and ethereal orbs of light.

Opening music. Enter the Athenian courtiers led by Duke Theseus and his bride-to-be Queen Hippolyta, played respectively by David Morville and Kate Salad. These two actors set the mood with a wonderful display of regality. Only four nights from his wedding date, Theseus is confronted by an angry Egeus, played just to the right pitch by Ren Whitlock. Egeus appeals to Theseus to bring the ancient rite of death upon his daughter Hermia for her refusal to marry Demetrius, swearing her undying love for Lysander. Lysander tells the Duke of Demetrius’ infidelity to his former lover Helena.

Now we have our quartet of lovers played to perfection by Kitty Levi (Hermia), Issac Brierley (Lysander), Esmae Dixon (Helena), and William Humphries (Demetrius). This foursome contrived to get every ounce of comedy from their individual characters and their predicaments. The many magically manipulated changes of loving affection for first one then another causing confusion and high comedy. It is at this point that it must be mentioned that Shakespeare makes comic allusion to the difference in heights between the two female lovers, Helena being tall, and Hermia much shorter in stature. But “Oh” we thought “Kitty playing Hermia is a good few inches taller than Esmae’s Helena. How is that going to work?” We had no need to worry. Director Charly sorted that out with a little magic of her own making.

Then we are introduced to the marvellous majesty of the weird and wonderful Athenian woodland, Titania queen of the fairies, and Oberon their mighty king, bringing with them their separate entourages. I thought the marked difference between the two camps, a brilliant addition to the action. Titania’s almost genteel followers, Moth, Mustardseed , Cobweb, and Peaseblossom contrasting with Oberon’s feral band, wickedly cooing and keening in the background. Fairies, you did your mistress and master proud. What I especially admired about these and all the other minor parts, was the discipline to remain in character all through the action, even when not directly involved.

The fairy hierarchy were nothing less than awesome. Ruby Hartley’s Oberon displaying the essence of real power, giving one the feeling that one should lower one’s eyes in his presence. The splendour of Tessa Worden’s Titania gave the feeling that she was in every way a match for her haughty counterpart. Her devotion to ‘The Ass’ a theatrical treat. Always a pleasure to see Tessa on stage. And then we have the arch mischief maker himself, the mercurial Puck. Connor Harrison gave us an acrobatic performance laced with a liberal amount of camp. Played with due deference to his master, but with a hint of defiance. Another terrific characterisation, Connor.

Do you want pantomime and slapstick in a play? Then you have it in the shape of ‘The Mechanicals’. And what a motley bunch was here. Anne Salha’s Peter Quince, Faith Morgan’s Snug, Eliza Preston’s Snout, Ollie Simpson’s Flute, and Layla Wilkinson’s Starveling. These actors worked together in a professional way to make the inarticulate, the awkward, and unkempt so delightfully hilarious. Snout’s portrayal of ‘Wall’ was nothing less than inspired. The business with the chink in the wall will long be in my mind. The play within the play (Pyramus and Thisbe) a gem of theatrical comedy.

You think I had forgotten, didn’t you?
What can I say about Artie Metcalfe-Crossley’s Nick Bottom. The conventional temptation is to play this character in an ignorant bombastic tradesmanlike fashion, but I suspect Director Charly and Artie got together and created Bottom as a somewhat upper-class twit, his privileged status lauding it over his fellows. A triumph. A death scene to die for, Artie.

Special mention to Thea Golby-Thomson, Paige Phillips, Beau Routh, Anna Marie Wilkinson, Bella Marie Gent, Bella Bryan, Annabel Earnshaw, Hattie Trafford-Jones, Larissa Walsh. Thanks for your contribution to an afternoon of great theatre.

Congratulations to technical, stage and front-of-house crews for flawless sound, lighting, special effects, and hospitality, and huge congratulations to Charly Ward and her production team for creating moments of pure magic. The stage direction, choreography, and interpretation nothing short of perfect.

Thank you to the Burnley Youth Theatre team for its dedication and contribution to our youth and community.
Puck has the last lines of the play, reminding us that it has all been a ‘Dream’.