You can't really get a true picture of the Chapel at Hazelwood, but this gives you an idea of the sort of location in which we performed A Midsummer Night's Dream.
Compact, bijou and even tiny were words used to describe the venue, but the most used descriptions nearly always contained the words atmospheric, gorgeous and magical. Take your pick.
The Chapel is not a theatre, nor does it pretend to be be; but it is a truly beautiful space in which to present a performance of any description.
Reviews are always gratefully received because we all want to learn from what the audience thought of a show and, let's face it, it's great to get a pat on the back from somebody who has spent time and money to come and see what you do!
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| A view of the Chapel at Hazelwood House from the valley below. |
In spite of studying Shakespeare as a student and being genuinely in awe of his greatness, I have to be honest and say that, for various reasons, his plays are not my favourites to go and see performed. However, on this occasion, along with a couple of friends, I braved the cold, dark, wintry Devon night and went along to the Inn Theatre Company's production at Hazelwood House. I was curious to see a 'magical play' being performed in what I already knew to be a 'magical' venue: the Old Chapel within the Hazelwood Estate.
The production was staged along the length of the Chapel, with the audience seated in a couple of rows in front. It seemed an odd choice of staging, which I hoped might some insight later on.
The set itself was minimal but perfect: a timber bench, a forest floor, a throne and Titania's chaise longue. All presided over by the exquisite, painted, life-size timber angels which grace the walls of the building. I liked it. The atmosphere felt right. As I warmed to the production - Sally Feetenby as Helena grabbed my attention with a surprising edge of commedia grotesque to her simpering love-struck character (clinging ot her lover's ankles like a yapping, love-hungry terrier). I too started to feel excited (oh for good acting); my friend nudged me and whispered '...would have been much the same in Shakespeare's time.'
Thanks to her comment, the whole play suddenly opened up and started to make sense. The high-ceilinged ancient chapel with its timber balustrade and beams; the ivy creeping through the roof light windows...all felt reminiscent of how things may have looked at The Globe all those years ago. Even down to Titania's love-nest festooned with moss and ivy. All it took was another example of great comic timing from Ms. Feetenby again and I was on-board.
'Come on guys,' I wanted to yell. 'Get into it! Do your stuff and show us some magic!' It seemed that after a slow and uncertain start, the actors finally warmed up and the action took flight.
Though it seems unfair to point out certain actors - as this play truly is an ensemble piece if ever there was one - in terms of reviewing the success of the storytelling as well as audience engagement, some performances merit note.
The lovers Demetrius (Ben Hamilton) and Lysander (Rich Turley) found their lust for life, and their women, and brought more meaning and fun to the language.
Lucy Nichols' Hermia was charming and lovely, showing a real understanding of the character's emotional narrative.
The delightful Ellie Brock as Puck - well, more please! She was quitew bewitching. I could have watched her hours...although her speedy rendition did put me off the scent on a couple of occasions.
Oberon and Titania (played by Gil Garland and Jill Brock respectively) the grand dames of the whole, were probably the most interesting characters in that they carry the explicit mythical/fantasy elements as well as embodying the psychology of real, human relationships. Both actors traversed both realms with ease and confidence. Jill played Titania with a full, sensual relish that only a mature woman could. Her writhing, snuggling slumber on her love-nest was occasionally more watchable than the action centre-stage.
I liked Gil's hints at feelings and motivations that are darker, more sinister, something which seems lacking in overall conception. I was left wanting more of these two clearly versatile actors.
The fairies of course - magical sprites that they are - didn't disappoint in their revelry and shenanigans. Young Ben Tonkin as Mustardseed was testimony to the adage 'never work with kids and animals', because, truly, all eyes were on his eyes every single time he came on stage. Sooo cute.
Last but by no means least, the 'play within a play' element was given due attention at the same time as providing both Max Brandt and Jane Windsor-Smith with the perfect vehicles for their skills. Max, playing the character of Bottom, was hilarious. He commanded the stage with a very precise, physical characterisation of the ass and, by implication, all things primal and naughty. Great humour. Great comedian. His performance was like a climbing frame around which the other actors could swing...which of course, Jane Windsor-Smith did beautifully as Snug. Her mimicking of Bottom's 'roooar' was choice. Over and over again she repeated it with the innocence of a child. The Company are fortunate to have such skilled players among them.
At the risk of sounding overly-critical, I'm wondering why more of this obvious talent isn't shared with other members? It wouldn't take much to raise everyone's bar.
The text of Shakespeare can be quite lumbersome and unless approached with a clear eye for storytelling and sense making can deaden any performance.
I didn't follow all of the story - does it matter? Probably not. This is a rendition of one of Shakespeare's most popular plays done in a fun and populist style, probably just as Shakespeare intended. For that it has my vote.
Having said that, I suspect that there's more laughs to be had, more depths to be plumbed, more darkness to be brought to light; all it would take is a little more dedication to the narrative and the plot's twists and turns.
At the end of the evening I asked myself 'Is this a show in progress?'
Definitely.
Would I go and watch the next instalment?
Absolutely
The Bike Shed, Exeter - a date for my diary
And breath.
I'm not in the business of arguing with someone else's views of a production - although the 'setting' of the play was a choice for breadth and space; I cannot imagine trying to perform it at one end of the Chapel! - and I have to say that, overall, I thought it a very positive review.
But I also have to say that I do not agree with some of the observations made.
(I can send you what I really think in a plain brown envelope and leave it behind the hot-water pipes at King's Cross Station...drop me a line!)
What about you?
Did you see the play? What were your thoughts? I can see that there a couple of points that we can learn from and develop the performances for the Bike Shed gig in January - and beyond - but overall, we done good!
Never lose sight of that.
Onwards and upwards.
