Theatre Review: A Midsummer Night’s Dream at the Birmingham Rep

AD: This Press Night Review refers to the 2026 Production of A Midsummer Night’s Dream at the Birmingham Rep*

Despite growing up practically in William’s Shakespeare’s backyard I can’t remember ever going to see one of his plays in the theatre. (At least not by choice; I have fuzzy memories of a school trip to see Romeo & Juliet). So I was looking forward to this new production of A Midsummer Night’s Dream at the Birmingham Rep, probably the most playful and light-hearted of Shakespeare’s plays. And being a Birmingham Rep original production, we expected some fitting twists. Which this show delivered to the delight of the appreciative audience.

This show is the directorial debut of the Birmingham Rep’s Artistic Director Joe Murphy, working alongside his deputy Madeleine Kludje. Half of the company are local, and the use of regional accents – whilst retaining the sometimes pompous language of Shakespeare – ensures that the audience continue to feel engaged. As do the occasional modern props such as mobile phone, vape and a super soaker water pistol. Definitely not popular items in 1594 when Shakespeare put quill to parchment.

“The course of true love never did run smooth“

Set in ancient Greece, A Midsummer Night’s Dream weaves a number of narratives together. There’s the upcoming nuptials of Duke Theseus and Hippolyta. The blossoming relationship between Hermia and Lysander (a gender-switch in this production means Lysander becomes Lysandra). Helen’s unrequited love for Demetrius, who in turn, is in love with Hermia. King and Queen of the Fairies, Oberon and Titania, quarelling over an unseen changeling ward. A feisty and mischievous sprite called Robin “Puck” Goodfellow. And a group of artisans/am dram performers – the Mechanicals – rehearsing a play to perform at the Duke’s wedding.

Out of the city, and into the woods, inhibitions are shed, and love dominates. Particularly when Titania’s love potion is liberally being squirted around by Puck. Although these couplings are not always as originally intended…

“Hoary-headed frosts fall in the fresh lap of the crimson rose”

There’s also a serious theme running through which resonates today; a changing climate and ecological crisis caused by the selfishness of those that reside in that world, be it fairy or human. This production starts with Hippolyta quoting some of Titania’s speech for a news bulletin, later reprised by the fairy queen herself (both roles played by a majestic Ellena Vincent with a lilting Caribbean accent).

The second act, slightly shorter than the mammoth 90 minute first, is largely concerned with the “play within a play”. Which gives our six Mechanicals their opportunity in the spotlight. The farcical “Pyramus and Thisbe” would not look out of place performed by the Mischief Theatre team, but these “actors” led by the hapless Quince (Hannah McPake) commit to – and sometimes suffer for – their art. Snout’s (James Tanton’s) performance as “The Wall” is something to behold, and is just one of many laugh-out-loud moments.

What the Puck?

The team have put together a ridiculously talented cast, from Isabel Adomakoh Young, Qasim Mahmood, Charlotte Wallis and Evie Ward-Drummond as lovelorn teenagers Hermia, Demetrius, Helena and Lysandra respectively; to the mechanicals doubling up as fairies. Haydn Oakley’s commanding Oberon is more than happy to make an “ass” of himself in the name of love. Omar Malik steals the show as self-confident Nick Bottom. He gloriously overacts in every scene – whether as human or donkey – with his pièce de résistance coming in “Pyramus and Thisbe” where he plays the tragic hero.

Adam Carver as Puck has the audience in the palm of their hands, from their very first appearance under a single spotlight, a vision in neon pink tulle. Carver is better known for performances as cabaret artist Fatt Butcher, but demonstrates here why they are a vocal powerhouse. Carver also wrote some of the original songs performed in the show, as well as leading the audience in a rousing rendition of the Eurythmics’ Sweet Dreams (Are Made Of This).

This isn’t a musical, but a mixture of original and instantly recognisable tunes are used throughout. I particularly liked the subtle use of Des’ree’s Kissing You, used as the love theme in Baz Luhrmann’s film adaptation of Romeo and Juliet. I’ll also never look at Islands In The Stream in the same way again. Carver, Oakley and Vincent all have flawless voices that don’t drop a note.

“And though she be but little, she is fierce“

Carl Davies’ simple but enchanting set works perfectly in harmony with Andy Pike’s lighting. Seemingly transparent columns filled with foliage and softly glowing light fill the stage to transport us into the woods, and illuminated cubes drop from the sky. The foliage was actually donated from nearby Sutton Park, a beautiful nod to the green spaces found in our own city. In fact the whole theatre has gone fairy-mad, with neon light signs and foliage adorning even the bar. There are also subtle nods to Birmingham in the backdrop for the mechanical’s am dram sessions.

I was completely captivated by this spellbinding production. It’s a fun take on a classic tale, with queer love, gender reversals and the best performance from a donkey since Shrek.

“Lord, what fools these mortals be” A Midsummer Night’s Dream is at the Birmingham Rep until Saturday 24th May 2026 – don’t be a fool and book your tickets here! In a bid to make theatre – and Shakespeare – more accessible to a younger audiences 5,000 tickets have been made available for £5 for those under 25 – select an “Under-25” price type when booking 😉

Photo Credits: Manuel Harlan

*Why is this post marked AD? I was invited to attend Press Night in exchange for an honest review. You can trust that I will always be honest and truthful on A Brummie Home and Abroad, and being an invited guest will not influence my opinion in any way.