Review of ‘A Midsummer Night’s Dream’ (Regent’s Open Air Theatre, 2026): “Rustic production comes out too mechanical”

Comparisons are odious. But what else can you do if two major productions of arguably Shakespeare’s most popular comedy are running in London at the same time? Especially, if one of them is faultless and all you can say about the other, if you want to be kind, is that at least they tried. And that might be pretty much it.

I shan’t keep you waiting any longer. This is not the production you should be running to get a ticket for. Is it terrible? No. But some disappointment is nonetheless guaranteed. To some, it might come across as worse than that. Generally speaking, the acting isn’t great, the approach is unimaginative, and although some additions are amusing, there is more to go than to stay.

Shakespeare is still Shakespeare. As a result, we can find enjoyment in the piece despite a lack of adroitness in its execution. Fortunately, the text hasn’t been butchered. There are a few modern remarks. But for the most part, it remains the work so many have grown to love and experience in many different forms over the years. This just happens to be not one of the highest.

But it feels pedestrian, nevertheless. The main reason stems from the little resourcefulness, internalisation, dexterity, and chemistry that around half of the cast displays. Their performances convey next to no sentiment, credibility, or flow — coming off as recited at best and deadpan at worst.

The result is as unsatisfactory as one would imagine. It might be entertaining, but the engagement with the story and the characters’ journey is somewhat limited. It improves during Act Two, but the flaws are noticeable — and despite some company members doing a better job later in their rendition, the stains are indelible.

Some actors deliver a much more polished, sometimes praiseworthy interpretation. Olivier Huband is cheerfully magnetic as Oberon, Hiftu Quasem exhibits strong technique and brims with elan as Hermia, and Mary Malone is awkwardly adorable in her quirky, slightly slapstick portrayal of Helena.

Some others only offer half as much. Georgia Bruce brings warmth and friendliness to Puck, but the impish playfulness the role is supposed to encapsulate is nowhere to be found. Similarly, Nadeem Islam demonstrates an adequate understanding of Bottom’s essence through his intense take on the character. But it can also become excessive, trying too hard with over-the-top extras that soon get annoying.

The score meanders between nondiegetic and musical theatre. It is in the latter that the blemishes emerge. While some sections confer a stronger rhythm to the recount, others are nothing but mere fillers. Consequently, the action suffers, becoming stagnant due to empty segments that provide nothing but a chance for the live band to shine — which, admittedly, they do.

If the venue’s previous production of Sherlock Holmes was burdened by a subpar scenography, this one has overdone it. And that shouldn’t be taken as a compliment. Still set in a forest, it’s surprising that the design team hasn’t taken more advantage of the stage’s surroundings. For those unfamiliar, we are talking about an open-air theatre located at the heart of Regent’s Park.

Instead, a plain-looking wooden grandstand is intended to drag audiences into the play’s universe, while an upper curtain opens to reveal a small room covered with photoprints of trees, which is intended to represent the countryside. It’s baffling, if not absurd. And in some way, it feels like a deliberate shot in their foot.

There’s no magic, although they talk about it. There’s no passion, although it revolves around it. And there’s no excellence, despite being one of the Bard’s most enduring comedies. Besides a few convincing choices, this latest iteration of A Midsummer Night’s Dream doesn’t have the sparkle, freshness, and skillfulness that former incarnations have blessed viewers with. Ultimately, it seems like many of its components have made asses of themselves. And methinks that’s not the kind you’ll be enamoured of.

All pictures credit to Marc Brenner.

A Midsummer Night’s Dream plays at London’s Regent’s Park’s Open Air Theatre until 18 July. Tickets are available on the following link.

By Guillermo Nazara