Brighton Fringe Review: PUCK: A FAIRY'S TALE, The Actors - Theatre

“Give me your hands”

Written and performed by Fay Downie, Puck: A Fairy’s Tale gives a backstory to the sprite from Shakespeare’s A Midsummer Night’s Dream, the servant of Oberon who loves to pull pranks and cause chaos. Downie is joined creatively by Olivia Mace, who takes on both the role of director and dramaturg, pulling inspiration from not just Shakespeare’s work but also The Mad Pranks and Merry Jests of Robin Goodfellow.

The show begins with a mysterious hooded figure “spray painting” a wall with the words “Give me your hands,” one of the most famous lines from Puck in Midsummer that ends the play. The hooded figure reveals themselves to be the same mischievous sprite, grinning and welcoming audience members in. The audience as a whole is given the role of Titania’s fairies, the stereotypical type with pretty wings and fluffy tutus and names like Peaseblossom, Mustardseed and . . . Dave. It’s a mix of Shakespearean references and silly moments that sums up the energy of the rest of the show qute nicely. 

Even though no other characters physically appear on the stage, there are plenty that are referenced, from the Fairy King Oberon and the Fairy Queen Titania to mortals in the village that Puck grew up in. It is helpful to have previous knowledge of A Midsummer Night’s Dream, as there are some points that might be confusing for those unfamiliar with the work, particularly the part of the plot that is focused on Puck finding the lost “love-in-idleness” flower that sets the main action of the original play in motion.

There are a few clever uses of puppets, including the character of the changeling boy, whose costume of leaves has been designed and created by Sofia Power (the puppet, Raffy, is given credit in the programme, a sweet touch for the children). The gossips in the village Puck grows up in are played by sock puppets, allowing Puck to listen in on and interact with them. 

Downie is a delightful performer to watch, at times becoming like the shape-shifting Puck as they switch energies, going from hopping around the stage like a kangaroo to curling up and hiding from the world like a pillbug. They have the perfect energy for a show about the Shakespearean character, allowing the silliness to shine while still taking more sombre moments seriously. Movement Director Lia Burge does a great job of assisting Downie in bringing Puck to life on the stage. 

Unfortunately, the show does struggle in finding itself, moving between a silly show for children and a serious reflection on being an outcast in society and dealing with abusive and unloving parents. There are fun moments where the audience gets to participate, like a gameshow in which Puck must complete challenges to prove their “fairy worth,” but these moments are short-lived compared to the dark tale of Puck dealing with an abusive father and bullies both mortal and fae. 

I applaud Downie for the heartfelt message of being yourself that ends the show, changing some lines from Puck’s original closing monologue, but the show as a whole is quite depressing and goes into some pretty dark places with only a bit of silver lining. 

Puck: A Fairy’s Tale is an interesting take on the story of the mischievous sprite, but it struggles to find a balance between being a show for children versus one that is more for the adults. 

Puck: A Fairy’s Tale ran at the Brighton Fringe Festival from 24 - 26 May.