Helleth yes: Stratford’s ‘A Midsummer Night’s Dream’ proves the Bard still reigns supreme, Canada Reviews

The Stratford Festival is one of the largest classical theatre festivals on the planet featuring the works of the great William Shakespeare. But, with all the new musicals and whizbang new works growing in popularity at the festival on the Avon River, can it still do the Bard justice? Well, in two short words: Helleth yes.

This season’s production of A Midsummer Night’s Dream shows why the Stratford Festival is such a wondrous company. It is absolutely fresh and fun, while staying true to the Bard’s beautiful text. If there was ever a play to introduce audiences young and old to Shakespeare, this is it.

The Dream has it all: a lover’s … square, fairy kings and queens, love potions, magical spells, death sentences, slapstick comedy.

Recently, I travelled down Hwy. 401 through a rural countryside to the sleepy farm town of Stratford, Ontario. Here, I check into the beautiful Tom Patterson Theatre for a matinee production.

The plot of A Midsummer Night’s Dream is delightfully offbeat. Four young lovers flee to the woods outside Athens, where they stumble into a feud between the king and queen of the fairies. Throw in a mischievous sprite armed with a love potion, a troupe of hilariously inept amateur actors including a man who temporarily acquires the head of a donkey, and things start to get very out of hand before Shakespeare ties everything together in what could be his best comedy. 

There is much to be said just about the theatre that opened just after the pandemic in 2022. A glorious feat, tucked loving on the river banks with a gorgeous patio overlooking the Avon ideal for a drink or snack before the show or at intermission.

This is Shakespeare at its purest. No elaborate sets, a thrust stage, and actors relying on incredible skill to carry the day.

As a hush fell over the crowd, and the lights dimmed, a scene was set. Fairies singing and playing the violin walked down the stairs through the audience to the stage projected with blurred forest images as the changeling child was born. Fans of Cirque du Soleil would appreciate the opening. It has an immediate impact immersing theatregoers in the work. We are present for the magic, waiting for it to unfold.

What makes this production of Dream work so well is the company. There are some of the best roles in the entire Shakespeare cannon here, in Puck and Nick Bottom. Comedic and magical gold for those up to the challenges. And, to be honest, the success of any Midsummer Night’s Dream production begins and ends with Puck first, and Bottom right, ahem, behind.

Here, we have a splendid Puck in Toronto actor Mike Nadajewski. He plays the devil-may-care Puck to perfection with depth, with energy, and with heart. One of the first productions I saw of this play at Stratford was many years ago at the Festival Theatre with another Toronto actor, Jordan Pettle, as Puck. And, it still resonates with me. Here, on a much smaller stage, with nowhere to hide, Nadajewski equals that impressive level.

The audience got excited when he returned to the stage, which says everything. He ramped up the energy. The other actors fed off of his performance.

Michael Spencer-Davis’s performance as Bottom (photo at top) was also pitch perfect. He embodied the role of the Bottom the weaver with his oversized confidence in his own acting ability and a habit of overestimating his talent. This is a richly comedic role. There is really no other way to play it. And, Spencer-Davis does it with aplomb. There is no overacting despite the material verging on slapstick. There is laugh out loud moments and there are times when even a subtle look from him brings a smile. 

But, perhaps the performance that garnered the most laughs was unexpectedly Helena, one of the four lovers who run away into the woods

Helena is chasing Demetrius, who is in turn chasing after Hermia, the woman he was set to marry. Unfortunately for him, she is in love with Lysander and at the risk of death fled the city. So, Helena is at the bottom of the four-lover totem, for now, and as such there is some natural comedic undertone in the character. But, that whole vibe is fully fleshed out in this production.

And, with Jessica B. Hill in the role, it is a triumph. She is smart, funny, sassy and a delight. Her performance has depth, her comedy rich with intent. Her Helena was the best part of this production, in my opinion.

At times, the journey of the four lovers is verging on over-the-top territory, which would not do the Bard’s work justice. But, what it does is it acts as a natural gateway to the Shakespearean world. This is where Stratford excels. Creating new levels to Shakespeare’s work, new entry points, ways to reach new audiences.

But, at the same time, there is still that original love of the Bard’s work that shines through, an adherence to the text, and, really, a simple and effective staging. When in Athens, the actors are basically on the stage with no set, until the final scene. In the forest, a large fallen tree is moved to the stage. Projection is used with restraint and purpose.

In short, it is a spectacular showcase of just how wonderful Shakespeare can be.

There are bigger production, some lavish musicals, and even Tolkien on display at the Stratford Festival this season. But if you’re looking for some of that Shakespearean magic that put this festival on the world stage, look no further than A Midsummer Night’s Dream.