THIS operatic interpretation of the Shakespearean play is being performed in tandem with The Marriage of Figaro, as part of English Touring Opera's 25th anniversary tour.

With a score by Benjamin Britten, its credentials are sound, although some may question the concept of turning this classic play into an opera at all. However, it was with an open mind that I attended the performance, hoping to see a fresh and innovative reworking of an old favourite.

It started slow. This is a play in which the action takes place almost exclusively in the enchanted wood and consequently, there is little visual variation. The set and scenery, enhanced by dim lighting, were atmospheric enough, but they were let down by the slowness of the story.

The first half establishes the faery king and queen, Oberon and Tytania, as masters of a surreal world populated by invisible nymphs. When mortal lovers Lysander and Hermia, and Helena and Demetrius appear, they begin to playfully interfere. Puck, Oberon's captive henchman, is sent to brush Demetrius' eyes with a magic flower to make him fall in love with Helena, who he has previously shunned, but mistakenly brushes Lysander's instead, resulting in chaos.

In the meantime, preparations for a comic play by a group of craftsmen are under way, and Puck makes mischief again by transforming the hapless Bottom into an ass.

In the best traditions of Shakespearean comedy, it all ends well, but with the opera's dark mood and lack of pace, it feels like something of an endurance test.

Published: 28/05/2004