Clarence Produce Two Magical Nights for the School
Set in the ethereal forests of Athens, the Clarence production of A Midsummer Night's Dream proved a pleasure for all to watch. The audience entered the auditorium to discover an intricate set of a woodland scene, contrasting with the monochromatic platform above it depicting the highest courts and households of the Athenian nobles. The costumes were equally striking, with the nobles dressed in black and white to match their set, and the fairies wearing colourful and metallic fabrics, glitter and wings, which had been handmade by Mrs Armstrong. The Mechanicals were in a league of their own, dressed in army combat uniforms matched with Doc Martens, denim and dreadlocks. The general theme of the costumes was the 1960s, a time of great turbulence, but also of reform. The black and white of the nobles was a symbol of the strict rules and regulations imposed by Theseus (Eyanmanu) and Egeus (Christabel), father of Hermia (Grace) on the lovers Hermia and Lysander (Claire). The costumes of the Mechanicals symbolised change and freedom. The 1960s saw the rise of the student movement, women's reform and the progress of the civil rights movement in America. Parallels can be drawn between the pre-1960s America and the policies of the Athenians in A Midsummer Night's Dream, but there is also progression in both the play and the story of modern American history. In the same way that America began to accept things which had before been illegal or frowned upon, by the end of the play Theseus and Egeus are accepting of the decisions of the lovers Hermia and Lysander, and Demetrius (Roseanna) and Helena (Amelia).
Beneath the surface, however, the production introduced the more sinister aspect of Shakespeare's work. Attention was drawn to the leading role of the males in the play in several ways, perhaps most obviously in the scorn shown by the men towards Hermia and Helena. At one particular moment the ‘transparent' Helena, on her knees before Demetrius and begging for his affection, likening herself to a ‘spaniel' was kicked aside and onto the floor. The image was shocking, leading the audience to consider the other ways in which the male dominance was shown. In the play, it is always the men who make the rules. Oberon (Eyanmanu), King of the fairies, deceives his wife Titania (Lottie), causing her to fall in love with the man Bottom, whose head has been transformed into that of a donkey; Theseus and Egeus have control over the marriage of Hermia and Oberon and his servant, Puck (Alex), create the false relationships between the lovers. The production, whilst receiving well-deserved laughs at the antics and comic misfortunes of the characters, was thought provoking and should be praised for its success in revealing this dark side of the plot.
On the other hand, the comedy of the performance should not be overlooked. The hysterical portrayal of Bottom (Lucy), who fancied himself as a professional when it comes to the performing arts, complimented by the fantastic performances of the other Mechanicals, Snout (Francesca), Flute (Helena), Snug (Sophie) and their leader, Quince (Simisola), provided frequent humour and rounded the whole performance off brilliantly with their farcical production of Pyramus and Thisbe. All the actors did a brilliant job of finding a balance between the comedy of the play and the more serious underlying themes. Mention should be given to Eyanmanu, who juggled the parts of both Theseus and Oberon, and Lottie, who played the parts of Hippolyta and Titania. Although these couples can be seen as quite similar in some respects, they differ in just as many. Carrying off these roles with such poise and presence deserves great praise.
An original score was also composed by Angelica specifically for the play. All the instruments of the Orchestra were played by girls in UVI, including Angelica on the cello and the music was a tremendous success. It created the atmosphere necessary for the play and lent an air of mystery to the goings on of the fairies, It also gave the fairies (Rowena and Louise) the opportunity to perform a ballet to their mistress Titania as the play began to reach its climax.
The play was a complete triumph and the perfect opportunity for the Clarence thespians to give their last ‘hurrah' for drama at Wycombe before they move on at the end of this year.
Emma, LVI
