When putting on a Shakespeare play in the Cambridge theatre ecosystem, there is an implicit requirement that to truly be great, a show needs to have some innovation in approaching the text, and an excellent sense of style to capture its audience. With its modern take on A Midsummer Night’s Dream, The Marlowe Society is able to reach this distinctive bar, delivering an enjoyable rendition of one of Shakespeare’s iconic romances.

To start, the worlds of the play are wonderfully designed. On top of having access to more tools to play with at the Cambridge Arts Theatre, the innate creativity of the designers is still on full display. The lighting’s use of stark whites for the royal world of Athens excellently contrasts a slightly chaotic mix of colours during scene changes and the wonderful use of purples and pinks in the kingdom of the Fairies. The production’s technical elements are a marvel to behold, albeit with the occasional falter, as when white washed lighting seems too harsh and unflattering on the actors.

“Performances that captivate the audience with an incredible sense of confidence and nonchalance”

The beautiful set also makes clear distinctions between both environments. The simple royal court in Athens contrasting the purple trees and golden streams in the fairy forest provides the perfect backdrop for the play. The sound design is a joy, with songs ranging from David Bowie to classical romantic numbers, punchy prog rock to pop hits. Whilst such an eclectic soundtrack is not what you would typically expect for a Shakespeare piece, it works brilliantly with the production’s overall aesthetic.

Turning to the acting, in a play featuring many of Shakespeare’s most iconic comedic characters, creating a unique and compelling characterisation in a sea of other interpretations isn’t easy. Yet, Temitope Idowu (Hippolyta/Oberon) and Joe Harrington (Theseus/Titania) certainly do so with their respective roles. In dual-casting uncommon for interpretations of the play, both actors forge distinct characterizations, showcasing their command over a broad range of emotions in both their roles. Whilst Theseus and Hippolyta take a bit of time to really emerge as characters, both Oberon and Titania hit the ground running marvellously — Harrington’s use of Titania’s flamboyant silver cloak brings a wonderful sense of charm to his rendition of the role.

No review of A Midsummer Night’s Dream is complete without mentioning Bottom, and Kitty Ford brings an excellent sense of stupidity to the role which is the comic heart of the play. Working with an excellent Ensemble, Ford’s brash overconfidence, excellent braying, and brilliant chewing of scenery in the role of Pyramus make watching the scene where the company of actors prepare their play for Theseus an utter delight.

There is much more to compliment: excellent choreography, ranging from karaoke-style couples dancing (doubling as an excellent transition between acts) to non-naturalistic physicality in the fairy kingdom — with the transition from the world of the fairies back to Athens being particularly impressive. There’s also the wonderful dynamic created between Demetrius (Xoan Elsdon), Helena (Ella Scott), Hermia (Arabella Al Haddad), and Lysander (Izzie H-P). From their moments of doting adoration to star cross scrapping over bewitched lovers, the actors create a beguiling tension on stage.

The entire show comes together wonderfully, with an excellent sense of humour and style, stunning costumes and design, and performances that captivate the audience with an incredible sense of confidence and nonchalance. A Midsummer Night’s Dream is a funny, enjoyable time and an incredible production to kick off a term of theatre!