TRAINS rattled past, planes buzzed overhead and police sirens wailed, but the quality of Shakespeare's A Midsummer Night's Dream shone through under a heavy sky in the Farnham library gardens.

The latest marquee production by the New Farnham Repertory Company also demanded a great deal of physical fitness from a cast forced by the temporary facilities to sprint from the stage to the changing marquee, but the effort was worth it.

Playing to a near-full house, the cast overcame the poor acoustics, managing to deliver a lively, rousing performance from the stern opening scene to the hilarious climax.

The crescendo of noise and activity was matched by laughter from the audience, whose foremost members were in such close proximity to the stage as to almost merit cameo roles.

The numerous twists and turns of the plot, together with the seemingly endless stage entrances and costume changes were masterfully managed to maximise the comedy and the drama.

The Athenian workpeople set the tone from their very first appearance and stole the show with a hapless foray into the performing arts, with Nick Bottom (Nicholas Collett) the undoubted crowd favourite, dressed in costume which had to be seen to be believed and which had onlookers in stitches before he even opened his mouth.

The simplicity of the fellow workers only enhanced the comic value, from the offensive wall to the lion whose roars drew howls of laughter rather than screams of fear and the moon, played brilliantly by Ian Mullins, who did something unspeakable to Bottom with one of the delightfully inadequate props.

The remainder of the characters are far from overshadowed and entertain equally through their amorous efforts which bear fruit only at the very end and after considerable effort.

Sophie Jerrold triumphs in her portrayal of Helena, shamelessly throwing herself at Demetrius, each rejection strengthening her resolve and interpreted by her as a test of her cunning.

The success with which Anthony Gleave, Tamara Ustinov and Andrew Macrae each tackle two different roles is a result of the extreme contrast in characters - one set mystical, magical and full of devious intentions, the other altogether more human - and the interaction between Gleave's Oberon and Macrae's hyperactive Puck is another centrepiece of the production.

All in all it was a thoroughly enjoyable, lively production underpinned by some fine individual performances verging on farce.

The play was followed by a passionate plea from the company for support from the public in finding a permanent home and on the basis of this performance and the reaction from the audience, it would be hard to argue that they did not deserve one.