MARIA DUARTE and ANGUS REID review Materialists, Unmoored, Together, and Bambi: A Tale of Life in The Woods
Playing as a lark enthuses audience
[Tristram Kenton] 
TONY BURKE revels in the publication of previously unreleased tracks by the great US folksinger
GORDON PARSONS endures heavy rock punctuated by Shakespeare, and a delighted audience
STEVE JOHNSON recommends a protest album with a harder edge than many in the genre
DENNIS BROE finds much to praise in the new South African Netflix series, but wonders why it feels forced to sell out its heroine
CARL DEATH introduces a new book which explores how African science fiction is addressing climate change
In his second round-up, EWAN CAMERON picks excellent solo shows that deal with Scottishness, Englishness and race as highlights
Midsummer Nights Dream
The Globe, London
★★★★
IF there is any doubt that A Midsummer Night’s Dream can be played as a lark from start to finish, then this hyperactive Sean Holmes production will put such thoughts to bed.
Delivered with music hall panache throughout, every moment is milked for maximum silliness, while up in the gallery an off-the-wall, Bonzo Dog Doo-Dah style band accentuates the absurdities with rude blasts of the tuba, trombone and trumpet.
Jocelyn Jee Esien as Bottom is a Max Milleresque bundle of double (and single) entendre, making an agreeable ass of herself in more ways than one, while Faith Omole as a fiery, sexually charged Hermia provides some of the best moments of outraged, boisterous confusion.
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