03 Jul 2025
Deborah Heath embraces the golden age of disco at the Roman Theatre Festival for OVO’s ‘seventies take on the Bard’s comedy.
On opening night in late June, I experienced my own midsummer night’s dream as once again OVO rose to the occasion to deliver a summer smash hit in the magical setting of the Roman Theatre.
This is no easy task – here is Shakespeare’s most often performed comedy and in fact I can’t even remember how many versions I have seen over the years. I am sure I was not alone in this regard because the auditorium was packed with theatre-goers clearly eager to see a play they knew well.
There is a reason for it being produced so often; quite simply it delivers! It’s lively, fun, usually musical and ideally suited to an outdoor space. What could OVO possibly do to make it even more appealing?
This interpretation is the brainchild of Adam Nichols and Matt Strachan and is directed by Adam himself. It scraps Athens for 1970s Lancashire’s ‘Furthergate Working Men’s Club’ with Theseus and Hippolyta as proprietors.
The forest mechanical scenes are in the equally fun American Discoland. As well as being a fitting physical environment for the play, the 1970s setting highlights some interesting issues in Shakespeare’s text, particularly around the role of men and women and whether things have changed. I enjoyed considering these weightier questions alongside the joys of the play.
The production is packed with things that OVO do best – live music with talented actor-musicians moving seamlessly between roles, clever multi-functional scenery (watch out for the snooker table), fabulous costumes and all thanks to the vision of a hugely talented director.
As the audience entered, we were greeted by compere Phil O’Strate (Mark O’Sullivan) giving us a relentless stream of 1970s jokes which could have fallen flat in lesser hands. It was a marvellous way to set the scene. Also, very much of the period was the three-man (almost naked) balloon dance – one of the funniest moments in the play.
OVO are very skilled at using audience participation and didn’t fail to disappoint during this production. Some lucky people ended up on stage as dancing partners or stooges but everyone else was encouraged to join in with key lines of songs and even do some John Travolta style dancing moves from their seats.
A really impressive touch was the way the dialogue flipped between Shakespeare’s original text and shorter moments of modern speech to fit the interpretation.
For example “You Yorkshire teabag” was an insult that felt very much in the Shakespeare spirit. These moments never jarred at all and to be honest sometimes I didn’t even notice the flip. Adam Nichols handled this adaptation concept really well where others might have failed.
I hold the whole cast up as a perfect example of a well-functioning actor-musician company who knew how to use the whole set effectively. Tom Cagnoni shone once again as musical director.
The arrangement of “Gimme. Gimme, Gimme” and the final medley were particularly impressive.
The choice of songs was spot on in supporting the themes and environments of the play yet was also enjoyable on a purely aesthetic level.
Those actors who didn’t play instruments proved themselves to be great singers and dancers. If I’m honest I missed Bottom’s ass’s head but I liked Adam’s alternative idea and Christopher Chandler’s performance.
Grace Bassett was as ever, an absolute delight to watch throughout. This production has a very welcome take on the role of Helena, and Grace mastered it. In fact, Act II in which the story of the four lovers really hits the ground was so full of energy and physical comedy that I didn’t want it to end.
A highlight included Hermia (Hannah Brownlie) playing the guitar over Lysander (Charlie O’Connor).
Demetrius isn’t the easiest role to play as the character isn’t very likeable but Rory Dulku gave him just the right chinks of humanity whilst showing him up to be a narrow minded and hot-blooded lover. These four talented actors exuded chemistry in their energetic team work – well done!
Design was also outstanding. Cieranne Kennedy-Bell’s costumes were well researched, big and beautiful with some clever practical design elements that I won’t spoil in this review. Simon Nicholas’ set celebrated both locations perfectly with slick transitioning and I loved the way the disco sparkles complemented the perimeter fairy lights as the sun set.
I saw the first performance of this play and although there were a few minor sound teething issues I know these will be sorted out – sound and lighting design was very impressive overall.
I couldn’t have had a more joyous evening. OVO’s A Midsummer Night’s Dream is quite simply a celebration of everything they stand for; a bold reimagining of a classic tale from a hugely talented company of performers, technical and behind the scenes crew. Furthermore, this is the ideal time of year to stage the play and I couldn’t imagine many better environments for doing so. This is a must-see show so please grab a ticket before it is too late!
All photos by Elliot Franks.
