A MIDSUMMER NIGHTMARE! A DARKLY WHIMSICAL FOREST ROMP

By Emma Carney | Bunny Pudding · Digital Coven · @bunnyscopes ⭐⭐⭐⭐ | Press Invite

You’re in for a Shakespearian surprise if you go down to the woods this Summer—one that trades ethereal fairies for impish goblins and gothic mischief. Midnight Circle Productions has reimagined A Midsummer Night’s Dream as A Midsummer Nightmare, injecting a pagan edge and playful darkness into the beloved comedy many of us had to study in school.

While I didn’t find it as macabre as the “gothic journey” promised (perhaps my inner witch expected more gloom?), the show delivered a quirky, enchanting twist on the classic, set against the magical backdrop of Keats House’s open-air forest. It was all rather delightful even if I did forget to bring a chair and snacks, I was drawn in by the performances pretty quickly. 

MULTI-ROLE MAGIC AND INVENTIVE DIRECTION

The production leaned into its goblincore aesthetic—though subtly—with mischievous energy and folkloric charm. The costumes with assistance by Andrea Fray were particularly beautiful and functional as the actors switched quickly with characters. The real magic, however, came from the cast’s boundless creativity. Director Cecile Fray crafted a world where actors doubled (and sometimes tripled) roles, morphing seamlessly between characters with clever physicality and sharp transitions. Impeccable timing. I found these moments really engaging and well timed.

The use of goblins as scene-shifters was smart, keeping the energy high and the audience guessing. A bell ring could mean many things in this performance. Traditional casting norms were delightfully upended—Niamh Handley-Vaughan’s dual turn as the lovesick Hermia and the bumbling Snout was a particular highlight, proving that Shakespeare can (and should) be played with fearless reinvention.

WHIMSY IN THE WOODS: A PLAYFUL PRODUCTION SETTING

The Garden setting was enchanting and it did win me over —dappled sunlight, rustling leaves, and even an urban fox guest-starring at interval (Who was that DIVA?!). Yet, as with many outdoor productions, some of the softer, more intimate moments were lost when voices dropped too low against the natural acoustics of Keats House and well,  just a shed ton of really loud birds appearing randomly out of nowhere. You can only predict so much when it comes to working amongst nature after all.   

Where the production truly excelled was in its physical storytelling—Dan Watson’s movement direction brought a dynamic, almost ritualistic energy to the fairy-goblin interplay, while Jack Masefield’s fight scenes were crisp and thrilling. The incorporation of haunting chants and modern musical twists (kudos to Miles Blanch as Music Director) added a fresh, eerie pulse to the familiar tale. My little witchy itch was scratched in many ways!

SPELLBINDING PERFORMANCES ACROSS THE ENSEMBLE

Sam Bird’s Puck was a magnetic, puppet-master sprite—equal parts playful and sinister (Who doesn’t appreciate a ukulele, eh?)

Chloe Orrock dazzled in her dual roles, shifting from Hippolyta’s regal grace to Oberon’s commanding, horned-god presence with effortless physicality.

Kennedy Jopson’s Titania was a vocal and dramatic triumph—her lullaby was spellbinding, and her chemistry with Jed McLoughlan’s hilariously portrayed Bottom brought a flirtatious, unexpected spark to their scenes. McLoughlan also shone as the scene-stealing Goblin, proving his versatility with slapstick humor and razor-sharp timing.

Nadia Lamin delivered a standout trifecta—bringing heartfelt depth to Helena, endearing charm to Snug the Joiner, and mischievous energy to the Goblin. Her ability to balance vulnerability, wit, and physical comedy showcased her remarkable range.

LESS GOTHIC THAN PROMISED, BUT STILL ENCHANTING

While the promised gothic darkness simmered more than it roared, A Midsummer Nightmare was a visually lush, inventive, and joyously performed take on Shakespeare. The ensemble’s camaraderie and the production’s playful physicality made it a delight—even if the goblincore vibes were more whimsical than wicked.

A Midsummer Nightmare is on an outdoor summer tour until Sunday 29 June.

Dress code: Goblincore (embrace the chaos!) Also, bring snacks and a chair!

WEBSITE

⭐⭐⭐⭐ A spirited, outdoor spectacle with standout performances.

CAST

Puck – Sam Bird
Oberon/Hippolyta – Chloe Orrock
Titania/Egeus – Kennedy Jopson

Bottom/Goblin – Jed McLoughlan
Quince/Theseus/Goblin – Miles Blanch
Hermia/Snout/Goblin – Niamh Handley-Vaughan

Lysander/Starveling/Goblin – Daniel Pirie
Helena/Snug/Goblin – Nadia Lamin
Demetrius/Flute/Goblin – Charlie Macrae-Todd

CREATIVES

Director – Cecile Fray
Producers – Niamh Handley-Vaughn, Nadia Lamin and Miles Blanch
Movement Director – Dan Watson

Music Director – Miles Blanch
Fight Director – Jack Masefield
Fight Captain – Daniel Pirie

Intimacy Director – Khushboo Shah
Tour Stage Manager – Jed McLoughlan
Marketing – Alchemy Create Marketing

Promotional Photography – Roj Whitelock
Trailer Videography – Jake Bentley
Trailer Composer – Stacey Doherty

Costume Assistance – Andrea Fray
Donkey Headdress Illustration – Lisa Paddon
Accounting Assistance – Susan Blanch
Organisation and Logistics Assistance – Julie Lamin