CORONA VIRUS UPDATE :

It is with much sadness that we have taken the decision to postpone our literature festival. Given current conditions and advice, we want to ensure that all our audiences, authors, volunteers and staff remain as healthy as possible and we feel it is our duty and responsibility to protect others by not proceeding with our events at this time.

We are currently investigating options for rescheduling events and ask that you bear with us in the meantime whilst we talk with different venues and authors. We are also in talks with our box office - run externally - and appreciate your patience whilst we finalise information for those who have purchased tickets for events due to take place at the end of March. We will keep you informed as soon as we have further information.

Thank you all for your continued support - as a charity we rely so much on income from our audiences and sponsors to keep running and hope that, however uncertain the future is at present, we can continue to bring high-quality, inspiring multi-arts experiences to the Midlands.

(Last Updated: 17th March)

Lichfield Festival Box Office:
01543 306 150
Published date: July 11, 2017
Last modified: July 11, 2017

Young Critic Review: A Midsummer Night’s Dream by Ballet Cymru

The Lichfield Festival Young Critics are all aged 18 and under.  They attend a number of events at the Lichfield Festival and send us their review within 24 hours.  

A Midsummer Night’s Dream by Ballet Cymru

Sunday 9th July, Lichfield Garrick Theatre

Ballet usually makes me think of stiff tutus, formality and a sombre atmosphere. However, this is not the case for Ballet Cymru, because this company makes this art form more accessible and successfully reaches out to engage a wide audience. The production of  ‘A Midsummer Night’s Dream’ was creative, fun and bewitching!

The setting of fairies, forest and night time was created in a number of imaginative ways. The projection of an enlarged silver moon created a mood of anticipation and a magical, mischievous feel. In the opening I liked the clever use of the umbrella. This umbrella was used as a gun, and then swirled around as a sword, which symbolised the argument between King Oberon and his Queen Titania. Comedy quickly resumes because Puck (Oberon’s servant) plants a love potion which makes Titania fall in love with a man who has the head of a donkey!

The costumes of the sprites, embellished with intricate flower designs which trailed around the white bodysuit, linked the performers to the woodland. Not only did the costume contribute to atmosphere, but it also helped the audience identify the character, as there was no dialogue throughout. The workmen characters were defined by their clomping black boots and looked like Victorian workers so the audience instantly understood their status.

After the confusion caused by spells and love potions in the forest are resolved, the action ends with another performance to celebrate a wedding. The workmen’s play reveals their foolishness and the clever use of small whistles which replaced the dialogue created a comic feel so the audience understands their play is not very sophisticated. I enjoyed the part when one of the workmen in his performance kills himself, he really over-dramatises the scene by stabbing himself many times.

“What fools these mortals be….” Words written on the back of the character of Wall certainly does not apply to Ballet Cymru!

 

By Emily Robson

Young Critic