Review: A MIDSUMMER NIGHT'S DREAM, Lyric Theatre, Hammersmith, February 29 2016

He may have been in it for 400 years, but Shakespeare was probably turning in his grave at what Filter Theatre have done with A Midsummer Night's Dream (at The Lyric, Hammersmith until 19 March). But, actually, he probably wouldn't, because Shakey was an entertainer first and foremost and entertainment is exactly what this riotous production delivers - along with some of the original text and a lot that's much more 2016 than 1616.

There's no forest, but there is a food fight; no ruffs, though things get very rough; and no Moon, but plenty of lunacy. These radical departures are signalled from the word go when Ed Gaughan (as Peter Quince) appears from behind a curtain to give us some Eric Morecambe style patter about how the show is a bit of a disaster and might only be saved by the star quality of a special guest. But we're soon hurtling through the introduction of the ill-matched lovers, Bottom's subversion of the Mechanical's plans (with Andrew Buckley in engagingly naughty form) and Puck's mischief (Ferdy Roberts as a resourceful, if cantankerous, handyman fairy).

The lovers have a great time, with Clare Dunne's Helena tall (of course) and sexy, Victoria Moseley's Hermia short and feisty, Hammed Animashaun's Demetrius a super turn as a soul singer (oh yes) and John Lightbody impressively flip-flopping as Lysander. And if Cat Simmons is a bit underused as Titania, Jonathan Broadbent (looking uncannily like Corey Feldman in Stand By Me) makes up for it with a tremendous slapstick schtick as Oberon.

It's delivered at breakneck speed all-through at 100 minutes or so, with barely a moment to think about what's actually going on up there on stage. But the story is present in most elements and so are many of the lines that sound as good as they have ever done, spoken clearly and with a proper regard for the poetry of the verse - even if lager is being fizzed about at the time.

There's the odd sweary bit that gives the play a 14+ recommendation, but that's fine, since if it were aimed at too young an audience, the panto aspect of the production, always threatening to break through, might overwhelm the anarchy. As it is, I've never seen a production more likely to get teens interested in Shakespeare - and it might do the same for plenty much older too!

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