Review: A MIDSUMMER NIGHT'S DREAM, Regent's Park Open Air Theatre

"This green plot shall be our stage," declares Quince, which couldn't be more fitting for Atri Banerjee's quirky, new production of Shakespeare's A Midsummer Night's Dream at Regent's Park Open Air Theatre. After all, there's a particular magic in this venue, with its dreamy roses, exotic ducks and fairy lights twinkling in the trees.

However, Naomi Dawson's set is less Chelsea Flower Show and more American baseball game with wooden bleachers and a singular sad-looking flower. Such a contemporary, stripped-down look somehow works next to the hippy-esque, hallucinogenic trip unfolding in front of us.

Upstage we have The Fairy Band – wigged up in golden, pink and orange tresses – playing 1970s soft rock (music by Maimuna Memon) reminiscent of Fleetwood Mac. Their folklore-punk makes a nice change from Hey-nonny-no minstrels strumming in the wood. Amelia Gabriel, as Mustardseed and lead singer, hits the high notes and is surely destined for Glastonbury one day.

Next to the band is a wardrobe area comprised of small make-up table and clothing rail with costumes for the show. In a make-believe, upside-down world, Costume Designer Tomas Palmer's wonderfully eccentric designs could come straight out of a dressing-up box. Think oversize jacket, frilly layered skirt, braces and a satin gown that shimmers on a sultry Titania (an excellent Jenny Rainsford in a Courtney Love-style rendition).

Impish Puck (a lively Georgia Bruce) conjures up havoc for four absconding lovers and Bottom, who takes on the part of Pyramus in a performance planned for the Duke and his entourage. Bottom's played by deaf actor Nadeem Islam using speech and British Sign Language. His expressive movements and command of slapstick add to the overall fun of a fresh, youthful interpretation.

I love modern touches, such as Hermia (played by Emma Raducanu-lookalike Hiftu Quasem) settling down for the night in the forest with her purple sleep mask, ear plugs and travel cushion. Olivier Huband's Oberon ad-libs after The Fairy Band's song at the top of the second act: "Rock 'n' roll, you can't beat it, eh. Put them on Spotify now." And Puck, who climbs down through the audience to get on stage remarks that there are "an awful lot of steps in this forest".

It's not only Evie Jones who breaks down the fourth wall – shattering that imaginary barrier separating actors from audience – as a superb deadpan Snout literally playing The Wall. The whole company is in on the joke that the players know the audience is there.

Another accolade goes to Mary Malone as an awkward and confused Helena. She steals every scene she's in, as it's hard to take your eyes off her gawky frame and indignation at supposedly being mocked by the other lovers. Misia Butler's a suitably pleasing Lysander, and Terique Jarrett's Demetrius pulls off the shift from spurned lover to acceptance of a new love in a believable way.

There's much to applaud in this exuberant and entertaining A Midsummer Night's Dream, even though at times speech was a bit muddied and the production could be tightened so the audience gets home before Fairy Hour. But you can't better an evening of mayhem and merriment in an ideal spot – the enchanted environs of a leafy London park in midsummer.

A Midsummer Night's Dream runs at Regent's Park Open Air Theatre until 18 July

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