Written by William Shakespeare

Produced and Directed by Helen Schofield

Among the Pea blossoms and the Midges, a secret awaits Edinburgh audiences. Those lucky enough to take a stroll through the Saughton Italian Garden cross the barriers of the betwixt and between the realm of wonderment, magic, fae-folk and arcane hijinks as William Shakespeare’s classic tale of misidentifies and toying fairies springs into a contemporary (and somewhat recognisable) world in this debut performance.

Fittingly, the concept to stage Shakespeare’s A Midsummer Night’s Dream came to director and producer Helen Schofield in, well, a dream. A daydream whilst walking through the space during the height of the Pandemic lockdowns. Emerging onto the scene, The Forth Play joins Edinburgh’s illustrious pantheon of grassroots production groups – and have already made a strong impact with their initial showcase. 

The failure of many to capitalise on such pristine spaces for on-site theatre, such as the sunken gardens and the stone stage, is a crime within itself. So, to see an al-fresco promenade showcase from a brand-new production group is thrilling and encouraging. Schofield’s direction takes full use of openness, taking action away from the stage and all around the audience. One which elevates the show from the off. The sights, the sounds and smells, and the feeling of the breeze and sunlight cascading down all mingle together to lift the audience into an ecclesiastical glee, ready to watch this classic re-forged.

The words of Shakespeare carry weight: culturally, in-depth and flavour of performance. It’s remarkably easy, too easy, to recite the language without understanding the context of emotion. But Schofield grasps the text effectively, occasionally with tremendous vim and vigour from principal performers like Cosette Bolt or Rhona O’Donnell. Some take a touch of time to adjust to the opening night flow, but channel Bard’s characters with gusto when given the chance. From lords, ladies, fae and rabble, Midsummer Night’s Dream brings a court of rogues and fools The Forth Act could conjure.

And there’s plenty of visual conjuring too, with costumes and set design brought together by Vintage Vibes Sewing Bee and North Edinburgh Arts Community Shed – kudos to the pair for such well-structured design work, the costuming especially.

Shifting from solid blocks of alloy-steampunk to gorgeously recycled and excellently structured paper-craft costumes – pure story-book magic erupts in this production against the vibrant greens of the Italian Gardens. With much of the foundations in place already, Mary Keegan’s design takes care not to clutter the set, utilising the shapes and depth to add a few cosmetic branches of blooming flowers, stained glass, and platforms to offer an additional dimension of height.

So, what of our mortal performers? Our quartet of lovers who find themselves the playthings of board fae-folk? Individually they’re admirable, collectively the whole sordid and melodramatic affair of it all collides with energy to the extent one cannot blame the mischievous fairies for interfering. Sarah Michelle Ault’s Helena, Sophie Ollivier Tyler’s Hermia (daughter to stern and powerfully carried Egeus performed by Gregor Sloss with a growling Scottish command), Nathaniel Forsyth’s Demetrius, and Chris Young’s Lysander all perform admirably in their bizarre and complex love-square with bewitched attractions, Ault and Young particularly channelling strong performances in the confusion with the goings on.

As too does Diane Waugh’s Petra Quince, a determined (sympathetically) carpenter trying to present a newly produced script to the Duke of Athens Theseus (Macdonald) and the Queen of the Amazons (Bolt). Not easy when grappling with the Mechanic’s Arms finest performers Rob Starveling (Phil Dalgleish), Snug (Dave Blackie), Flute (Michael Stephens), Tom Snout (Wag) turning in an excellent ‘Wall’ later in the show) and, oh yes, Bottom.

Recently spotted in cmfwood’s frisson: Online (and its follow-up frisson: In a Bar), along with Arbery Theatre’s The Satyricon, the quality and zeal O’Donnell brings to their performances are always of a high standard. With popcorn, trumpets, litter-pickers, bowler hat and a Cheshire grin, their Puck is as mischievous as ever, played with a distinct flair for the theatrical. Still capricious, this Puck is less of a malicious trickster, and more akin to the whims of fancy – leading to a tight finale from O’Donnell as they conduct shadows and words in the production’s sublime closing moments with measure and delicacy.

It’s a lovely offset to the forthright, though often petulant Titania and conniving Oberon, whose crowns weigh heavy on their fae-royal brows. While Gavin Macdonald flips between Oberon and Theseus with a sense of purpose and grandeur, the distinction between the two roles isn’t as pronounced as it could be. While Cosette Bolt’s projection echoes around the gardens, a wonderful sense of presence ensures Titania’s prestige is never challenged. Fitted with shoulder pads for days as the Queen of the fairies, Bolt has a dignified control, a decorum hilariously thrown out of the window in her enchanted obsession with Bottom.

And what an impressive Bottom.

It’s a remarkably easy role to over-saturate and attempt to rob the limelight, but Ian Stewart’s performance is entirely unforced and pleasant to watch, truly shining when at the mercy of Puck’s trickery, or in his final performance as the love-stricken Pyramus (the play within a play), where the hamming up of it all really encapsulates the absurdity and enjoyment in Stewart’s overtly, and deliberately, asinine and comedically ineptitude for the character who truly thinks they are the world’s greatest performer.

Tinkling in the backdrop of birdsong, Jingswag’s original composition adds a delightful layer to the production as it rings through the audience to aid in scene transitions, though keep an eye out for a more contemporary usage of some club-anthem beats to offer a flair to Bottom’s usual out-of-step presence. Frequently the musical interludes provide a brief moment of movement and flittering fancy from the trio of keenly performed fairies Mustardseed (Mairi Cross with a strong voice), Peaseblossom (Eilidh Smith) and Cobweb (Maria Sainz). All garbed in black-silken costumes, tasked with filling out the scenes and serving a commanding Titania.

Said to be set in the Athens of the North, the Edinburgh motif of the production isn’t as played into as it could be. The shift to the Mechanics Arms, and performers doubling as typical Lothian sights: Tweed spinners, construction (ten pounds it’s a tram) workers, and Deliveroo drivers, are all welcome but could be set in any contemporary setting. It’s a stroke of thought not carried entirely to fruition – but not one which detracts from the performance overall, just something which could have heralded as much gusto and on-the-nose behaviour as the script allows.

The newest member of the Edinburgh grassroots scene is not only a welcome addition but a remarkably promising and impressive one. In the splendour of the Italian Gardens, it’s difficult not to entirely lose yourself within the words of the Bard and the flourishing talent from The Forth Act. A Midsummer Night’s Dream evokes a flight of fancy, and a timeless magical world of mishap and trickery for the sake of enjoyment. It’s safe to say that no one leaves with an ass’s head, but everyone leaves with a Puck’s twinkle in their step.