Whilst the four lovers are each determined to put feelings above societal expectations, the play pushes against social norms by celebrating queer relationships. And while pastoral themes run throughout, this version bookends the whole with references to the global climate crisis.

But the poetry of Shakespeare’s script is still there, and the inclusion of some extra highly contemporary lines does not detract from this. Ellena Vincent’s performance of Titania, delivered with a Caribbean lilt, is particularly musical. Giving her Oberon’s words means that she has a far bigger role than in the original text.

Dressed in school uniforms, and scrolling on phones, the four lovers have a tender youthfulness about them. Hermia, played by Isabel Adomakoh Young, is convincing in her display of rebellion and lovesick innocence. Evie Ward-Drummond, cross-cast as Lysandra, plays the role of lover with passion as, driven by magical forces, she shifts the object of her desire from Hermia to Helena.

The role of Puck, played by Adam Carver (aka Fatt Butcher) continues the production’s subversion. More pantomime dame than fairy, Carver brings humour and presence. With their powerful singing voice, they move deftly between Shakespeare’s words and songs such as Sweet Dreams by the Eurythmics.

Hard core comedy is provided by the Mechanicals. As Bottom, Omar Malik has no bounds. His enthusiasm to play all of the roles in the play the Mechanicals are to perform for the wedding of Theseus and Hippolyta is infectious, and his physicality is entirely without inhibition.

Clever use of staging shifts the setting from the court of the Duke of Athens to the forest and back again. Grey columns of the court become vibrant foilage in the forest whilst pulsing music and lights give a club-like feel and adds to the sense of chaos.

At times, the frenetic pace feels a bit relentless and delivery of lines rather shouty. And the opportunity to build on the theme of climate crisis which opens the production is perhaps missed. Until the end that is when, coming out of character as the Duke, Haydn Oakley delivers a powerful speech direct to the audience on the impact the changing climate will have unless we take on board our responsibility to change things. It’s a compelling moment.

It’s a long production, with the first half running at 1 hour 45 mins. And subtle it ain’t. But it’s inventive, attuned to current times, a whole lot of fun.

A Midsummer Night’s Dream was co-directed by Joe Murphy and Madeleine Kludge. Set and costumes were designed by Carl Davies and lighting designer was Andy Pike.