KIDDERMINSTER-born director Glen Walford promised grandeur galore when staging this comedy and certainly kept to her word.

From the start, the set made clear this was going to be an epic production. A solitary tree took up most of the stage with tendrils spilling out over the castle walls, suggesting its all-encompassing role in this story of love and fantasy. It also set the tone for the sense of danger lurking in the forest.

Musically, the effects were amazing and the whispering voices reminded me of the strange noises the cast of hit Channel 4 series Lost are encountering on the desert island. The voices really made the audience feel the forest was alive.

Where this production really scored was the comedy. Matthew Devitt as Bottom was superb and I have never laughed so much at the play within a play before. Matthew played Bottom when Glen last directed this play at Ludlow Festival and I can see why she was keen to have him in the role again. His timing was spot on and he could really ham it up just as the role requires.

The other players - John Cockerill as Flute, Ian Harris as Snug, Richard James-Neale as Snout, Tom Jude as Starveling and Daniel Leatherdale as Quince - were perfect foils for Bottom and brought out the comedy to maximum effect.

Ben Elliot as Demetrius had good stage presence and Richard Pepper was equally good as Lysander even though all the audience felt for him as he lost his footing on the slippery stage. But he dusted himself down and showed the play must go on.

Emily Parker as Hermia and Emily Watcher as Helena really came into their own when exchanging verbal insults.

Jonathan Markwood brought the strands of the plot together in his dual roles of Theseus and Oberon. He showed a great sense of mischief when plotting, ably assisted by Aidan O'Neill who played Puck with panache and dangerous edge. I certainly wouldn't want to meet him in the dark.

Sarah Wildor showed her dancing prowess in the roles of both Hippolyta and Titania and was fantastic at leading the fairies.

A special mention must go to the young girls who played the fairies. I must admit I thought they were wearing green raincoats to start with as a way to beat the weather but, as the plot unfolded, the costumes were really effective in showing the perceived difference between reality and fantasy.

The costumes also gave the play a Pre-Raphaelite feel and reminded me of Edward Burne-Jones figures.

I must admit this is not one of my favourite Shakespeare plays but Glen's direction has succeeded in making me see it in a whole new light.

AG