(Harrow County School production 1956)
The production of 'A Midsummer Night's Dream' presents any intending producer with a special problem. The plot of the play can be divided into three 'themes' - the steady theme of the Athenian Court, the impish theme of the Elves and Fairies and the robust, comic theme of the Athenian Workmen. These three themes are in counterpoint with one another throughout the play, and the problem is that of maintaining a proper balance between all three so that the ultimate effect is one of harmony.
Mr. T. S. Turnbull, producer for the school, was greatly assisted in tackling this problem be his enthusiastic cast and a competent backstage staff.
The first theme of the play - the Athenian Court - is the most difficult to 'put over' to an audience, particularly by a cast of boys, because of its more serious note, but the team of players was well-balanced. Theseus (Brian Langton) spoke clearly and precisely and played his part with dignity, but not quite the majesty which one expects. (He was not helped by a clumsy Christmas-cake crown). Hippolyta (John Massarik) has a very light voice and parts of his speech were lost, but his bearing and movement on stage were graceful, making his the most convincing of the female parts. The other members of the Court were adequate: Egeus, although worthy enough in bearing and appearance, spoke rather too quickly; Hermia (Michael Adler) and Helena (Gordon Williams) were sometimes ungainly; Lysander (Christopher Treble) and Demetrius (Geoffrey Stephenson) - in striking costume - were the most assured.
Although effective under strong lighting, the greenish make-up of the elves and fairies with sombre lighting sometimes gave their faces a muddy appearance, but, this apart, the theme was pleasurably presented, owing largely to excellent costume designing (Messrs. Oliver, Anderson and Taylor). ...
Oberon and Titania (Geoffrey Palmer and Ian Henley), who led them, fitted well into this elfin background, yet maintained the slight aloofness from it which their authority demands. Titania's performance was particularly sensitive in her scene with Bottom. The costume of Puck (David Drinkwater) was of green and he wore a bright gold headdress which matched the brilliance of his outstanding performance. His clear delivery and his delight in speaking on the stage awoke an answering delight in the audience. For every single moment of his presence on the stage he was acting, even when half-concealed and not the centre of the action. His attack and confidence and the grace of his movement singled out his performance as the most professional, which is extraordinary, considering his years.
The team most notably successful with the audience was that of the Athnian workmen, who tumbled and bumbled their way across the stage, led by their gusty and nearly spherical leader, Bottom (A. Smith), abetted by a jovial Quince (Christopher Davies). Smith's performance was the most confident amongst the workmen. ...
It was the impression created by the set which finally triumphed... the sets, thanks too to the lighting (Messrs. Richmond and Morshead) gave the play its unity and shape.
D. R. Kincaid
(Gaytonian 1956)