With a sprinkle of magic it will not be hard to envision you are in an enchanted forest when you are surrounded by the trees of Dunedin Botanic Garden’s native cultivar lawn, especially as Lysander picks his way across the space declaring, "The course of true love never did run smooth."
Dunedin Summer Shakespeare’s A Midsummer Night’s Dream production is determined to bring joy and magic to the audience.
"We want to give people a few hours’ respite. It’s a wonderfully silly play that can take you away from everything else," director Kim Morgan says.
That escapism is an important part of what Dunedin Summer Shakespeare is all about. This production was originally planned for last year after the first season of Romeo and Juliet was a success.
But things went "pear-shaped" with Covid restrictions so Summer Shakespeare instead did a series of professional development workshops in an effort to support the city’s professional actors and an abbreviated one-weekend programme which concluded just hours before the next lockdown.
"It was a blessing in disguise really, as it means we get to do this joyful show now."
It is not going to be without its challenges, as although it is an outdoor production, numbers are still limited so they have had to introduce a booking system.
Those challenges are, of course, on top of the usual ones for planning an outdoor production in Dunedin, such as the city’s variable weather — so an indoor venue has been organised just in case.
Then there is the noise factor. Woodhaugh Gardens, the original venue for Summer Shakespeare came with wandering dogs, children’s screams from a nearby playground and the air-brakes as trucks travelled down nearby State Highway 1.
Although some noise was expected, it was a bit more than expected, making it quite difficult for actors who valiantly tried to say their lines over the racket.
Morgan is hoping the Botanic Garden site will be a little more peaceful.
"It’ll be hard not to imagine being transported into a magical forest with being surrounded by forest. We’ll sprinkle the area with a bit more magic as the play evolves."
"It’s challenging and rewarding for the actors. Nick Tipa (as Romeo) was excellent that first year climbing out of the trees and picking his way through the blankets to Juliet."
But it also breaks down the "fourth wall" between the actors and the audience allowing greater connection between the two. The actors might sit down on a blanket with the audience or curl up to have a sleep in their midst.
"The audience isn’t just there pretending to eavesdrop on us. It leads to magical moments where the audience feels part of the play. It allows something special to happen and no two performances are the same. It’s different and fun."
It also means the actors need to "keep their wits about them" and be on the outlook for random people wandering through.
"At least there are no dogs allowed there but there might be seagulls. That is the joy of truly live theatre with all the variables, you never quite know."
For Morgan, who has a background in summer Shakespeare festivals in the United States where the distractions are more likely to be fire engines and raccoons, it is those sorts of challenges that make the performances much more like what Shakespeare would have intended.
"It’s a much more exciting experience for me."
Bringing this to life is a cast of Dunedin actors, many returning from other years’ performances, such as Tipa who plays Bottom.
"Seeing Matt Wilson as Oberon and Barbara Power as the Queen fairy (Titania) square off is a sight to behold."
Ake Ake Theatre Company artistic director and yoga teacher Jessica Latton, who started Dunedin Summer Shakespeare, is playing Puck, the mischief-maker, and could not be more excited.
"It’s fantastic to be working with such a big group of talented people to create this beautiful thing. We are all going through this roller-coaster so it’s been good to have this to hold on to for support and to look after each other. It’s been a boost of energy and fun which is just what we need right now."
A longtime Shakespeare fan who always wanted to perform in it, Latton knew the only way to do that was to create the opportunity herself, so, with the help of Morgan and Lara Macgregor, did so.
"Kim has been a godsend with her many years’ knowhow, so we’re in good hands."
This show has also attracted a wide variety of ages and experience which has created a great environment for the sharing of knowledge, she says. From experienced professional actors Power, Wilson and Phil Grieve (Quince) to high school student April McMillan Perkins who plays Cobweb, many of the amateur actors taking part have trod the boards at the Playhouse and The Globe, such as Shaun Swain (Lysander) and Alfie Richardson (Demetrius).
"We’re raising up the next generation. They’re keeping us on our toes"
She agrees working in the round has its challenges.
"It’s very intimate. There are no tricks, you can’t hide anything. You have to be light on your feet and toes. It’s exhilarating."
They also have been training how to use their voices so they carry in the open.
"You don’t want to force it. You put intention into your voice and it will carry."
Helping create the magic is costume designer Sofie Welvaert, known for her work at The Globe, and technical director Matt Morgan.
Morgan says the short three-week rehearsal period is a real roller-coaster ride but the actors have been working on learning their lines and preparing for months, so she is confident it will all come together tonight when the production opens.
