As an incredibly interesting venue in the heart of Islington, The Rhum Jungle beneath Cotton’s plays host to an inventive and original look at a Shakespeare Classic. While taking the spiralling stairs down to the basement, you will undoubtedly bump into a few strange looking people happily sporting outrageous Hawaiian shirts. The incredibly intimate space within, its usual tables and chairs surrounding a small stage, really makes for an immersive and enjoyable piece of theatre.
Taking a look at the complimentary programme, I see to my surprise a company of only 5 to play all 16 characters present in the Director Scott Ellis’ version of A Midsummer Night’s Dream! I begin to think this is not a feat capable of ‘The Merely Players’. I was indeed (as I have been many times before), terribly wrong…
A strong kick off was made from both Laurence Pears and Ellie Jacob as Theseus and Hippolyta, with an absurd surprise from the wonderful Simon Grujich who amazingly juggled Egeus, Demetrius and Lysander throughout the scene. Well, in fact the whole play (with Flute on top!). Using only a green and white baseball cap, Grujich flipped between both male lovers with absolute ease, grace and humour. A gift only given to very few, all of whom seem to be in this production!
Puck, played by Katie Kneen, is jolly and spritely, often masquerading that well known cheeky grin flawlessly to Oberon (Pears) in a lovely expression of their constant rapport. The relationships between characters throughout are incredibly clearly defined and a wonder to watch. In particular, Jacob and Pears’ alter roles of Titania and Bottom is one of utter hilarity. Pearson completely soars above the mark with his Bottom, I think the part was quite possibly written for him! With Jacob clearly taking over her roles with utter authority and an astonishing talent of speaking Shakespearean verse, she truly is one to watch out for.
Karen Whyte’s Helena achieved being both a snotty, selfish young girl in love and incredibly moving in her performance. She creates points of real empathy for the audience without difficulty, which juxtaposes with her Snout really rather nicely. Snout’s part in the final ‘Mechanicals’ performance is one that Whyte’s perfect comic timing absolutely made and set with Kneen’s silly Snug and Jacob’s blithering Quince really emphasised the ridiculousness of the final scene.
This rather small cast of players and their Director Ellis, seem to have done the play both justice and breathed a new lease of life into it. A lease of life I have never seen before with this particular play, an epic tango between actor and a number of characters. I would sincerely recommend seeing this performance to anyone; in particular anyone who thinks Midsummer has been overdone.
theatricalscribbling 