Review: The Lovers Turns Midsummer Magic Into Modern Pop Theatre

One of my favourite lines from The Lovers talks about how what we can’t say with words, we say in verse. It’s a great double entendre for both Shakespearean verse and lyrical verse.

Much like musicals, Shakespearean language is already heightened, so marrying the two styles together seems like a no-brainer. The Lovers succeeds where previous attempts to do so have failed by capturing the essence of A Midsummer Night’s Dream and infusing it with modern references and sensibilities.

The moment I stepped into the foyer and then the audience stalls, I felt an overwhelming sense of excitement and anticipation, unlike any other show I’ve seen this year. The audience (and I) was not disappointed. With a hooting and hollering standing ovation that was well deserved, the opening night was a show the whole cast and crew should be proud of.

Written by Laura Murphy, The Lovers first premiered at the Sydney Opera House in 2022 under Bell Shakespeare, earning multiple nominations at the Sydney Theatre Awards, including Best Production of a Musical.

Its original cast recording, released in 2024, has already clocked more than 170,000 streams on Spotify. It’s a sign that Murphy’s score has struck a chord beyond the stage. Her blend of Elizabethan poetry and contemporary pop is ambitious and accessible, creating a fresh musical that still nods to its classical roots.

The story follows four young lovers – Hermia, Lysander, Helena, and Demetrius. They flee, chase, and confuse one another in a moonlit forest ruled by Oberon and the mischievous Puck.

Shakespeare’s plot of mistaken affections and magical interference remains, and Murphy adds modern reflections on consent, desire, and self-love. While it is sad to see the Mechanicals cut, they do get a mention; in this production, the director Nick Skubij lovingly called the backstage crew their “real life mechanicals.”

The commitment of the cast is out of this world. Natalie Abbott delivers a standout performance as Helena, her powerhouse vocals capturing both humour and heartbreak. Loren Hunter’s Hermia pairs sharp comedic timing with genuine warmth.

Mat Verevis shines both as the love-struck Lysander and the spiteful prick. Jason Arrow, best known for his role in Hamilton, makes Demetrius delightfully f-boyish. He’s arrogant yet oddly endearing.

Jayme-Lee Hanekom’s Puck is electric, commanding the stage with precision and physical energy. Stellar Perry’s Oberon has a commanding presence and a voice that fills the room.

Skubij deserves praise for maintaining pace and clarity through the chaos. His staging is fluid and inventive, allowing the story’s emotional beats to land amid the spectacle.

Isabel Hudson’s set design is a visual treat; a dynamic playground, a hanging heart and plenty of petals for the actors to throw at one another. Trent Suidgeest’s lighting design brings an ethereal glow to the forest scenes. David Bergman’s sound and video design adds jokes on top of jokes.

Yvette Lee’s choreography bursts with energy and variety, while fight and intimacy director Nigel Poulton ensures moments of tension and closeness feel safe and genuine. The inevitable Lovers’ fight is always a delight in this plotline, and the staging of this production is no different.

The Lovers is a smart, joyful, and visually rich reimagining of Shakespeare’s most chaotic love story. When leaving the theatre, I heard people comparing it favourably to Six: The Musical as a show that celebrates confusion, embraces contradiction, and leaves you humming as you walk out the door. I could not get Love and Pop and Shakespeare out of my head all night! 

The Lovers is a bold, glittering remix of love and laughter and one that proves Shakespeare still knows how to throw a party!

The Lovers runs to 16 November at the Theatre Royal, 108 King Street Sydney NSW 2000.

Tickets: https://theloversmusical.com.au/tickets/sydney/

Website: https://theloversmusical.com.au/

Socials: https://www.instagram.com/shakeandstir/

Photo credits: Joel Devereux