Review: A Midsummer Night's Dream's Minor Characters Get Their Moment In The Spotlight In The Wonderfully Hilarious THE POPULAR MECHANICALS

Wednesday 12th April 2017, 7:30pm, Wharf 2 Theatre, Walsh Bay

Keith Robinson and Tony Taylor's fabulous imagining of the bigger story behind William Shakespeare's A Midsummer Night's Dream's misfit band of 'Rude Mechanicals' comes to life in THE POPULAR MECHANICALS. First presented in 1987 under Geoffrey Rush's direction, this fabulous work, presented by Sydney Theatre Company, produced by State Theatre Company of South Australia, returns to the Sydney stage with direction from STC Resident Director Sarah Giles.

Whilst A Midsummer Night's Dream focuses on the mysteries of the forest, THE POPULAR MECHANICALS contemplates the story of the troupe of amateur performers which Puck refers to as the Rude Mechanicals. Presented as an Attenborough-esq nature documentary, the audience gets the chance to see the creative process and challenges that the eager but generally incompetent group of tradesmen go through to perform The Most Lamentable Comedy And Most Cruel Death Of Pyramus And Thisbe at Theseus' wedding. Shakespeare's text is blended with Robinson and Taylor's version of old English plus a smattering of contemporary language to create a linguistically clever work that plays on words and the odd phraseology of the era, highlighting the challenge many students face when studying literature. The bizarre plot unfolds with music, singing, dancing, a chorus line of chickens, slapstick, vaudeville and a generous dose of bodily function humour that will delight the young and the young at heart.

Designer Jonathon Oxlade has developed a wonderfully detailed set, dominated by a seemingly simple, raised thrust stage reminiscent of a town hall with its blue velvet skirting and curtains. Around the stage Oxlade has positioned a range of necessities found backstage, from the obligatory hot water urn and beverage accoutrements to a sewing machine, drum kit and ironing board, the audience is automatically given the sense they are peering into the behind the scenes 'secrets' of the theatre. Mark Pennington's lighting design helps to differentiate between the spaces and David Heinrich's sound design, musical composition and musical direction adds a drama to the work along with a comedy as he incorporates a variety of styles into the songs and presents an inventive tradesman's orchestra.

Whilst the work draws on reference from more contemporary times, Oxlade has put the Mechanicals in Tudor knickerbockers, long johns and skirts of sturdy wool and luxurious velvet to anchor the work to the 16th century Elizabethan England. Giles has played on the period's history of presenting young men as the female characters, turning the tables and including Lori Bell and Amber McMahon in pants roles of Tom Snout and Snug respectively whilst turning Julie Forsyth's Robin Starveling into a mature seamstress. Oxlade has played up the gender bending with the addition of exaggerated wigs and facial hair adding to the absurdity of the work.

Rory Walker captures the leader of the troupe, armourer Peter Quince's frustrated authority as he tries to direct the challenging group of somewhat untalented performers. His facial expressions as his exasperation becomes beyond words is priceless.

As the lead amateur actor Nick Bottom and the arrogant and alcoholic professional actor Ralph Mowldie, Charles Mayer presents the two sides of the insufferable overconfident actor stereotype. He delivers both characters with a fabulous physicality that has the audience astounded as his capacity to finish a cask.

The shy Francis Flute is presented with an endearing geeky awkwardness by Tim Overton. He captures the younger man's innocence and fear in way that elicits sympathy and revulsion at one particular moment of extreme commitment to character that is not for the squeamish.

Lori Bell presents tinker Tom Snout with a fabulous physicality and comic timing, expressing an eagerness but also a bewilderment at some of the antics. Her response as Snout realises he's misplaced the gap in the wall is brilliant in its seriousness and 'the show must go on' attitude.

Amber McMahon presents the somewhat dimwitted and sex focused Snug with a bawdy physicality and which, along with Flute, will help draw in the younger audiences. She also delivers a brilliant crooning jazz vocal as part of the work's musical interludes.

As seamstress or tailor Robin Starveling, Julie Forsyth gives the work an added realism of the range of people involved in amateur theatre. Her phone juggling is presented with a precision and seriousness to draw out the comedy and her solo is a lovely inclusion with a surprising twist.

THE POPULAR MECHANICALS is a wonderful blend of physical comedy, slapstick, verse, song and dance that is designed to appeal to a wide audience, particularly children and teens provided they aren't shy about the odd course word or suggestive expression, which in reality is tame compared to other youth entertainment on offer. It is a great introduction to Shakespeare, making it accessible whilst remaining intelligent and incredibly witty in its profanity.

Whilst Sydney Theatre Company's website indicates limited tickets remain, this is well worth checking with the Box office daily for any tickets that may become available.

THE POPULAR MECHANICALS

Sydney Theatre Company

Wharf 2, Walsh Bay

6 April - 13 May 2017

Image by Kris Washusen

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