Alas, The Audience is a lot less fine-feeling when it comes to politics. John Major (Paul Ritter) is an amusing caricature who insists that he "only ever wanted to be ordinary", inviting the glorious reply, "In what way do you feel you have failed in this ambition?" But what a misunderstanding of an ambitious man who craved control and was a spiky, difficult leader. It gets worse as we rewind to Margaret Thatcher (Haydn Gwynne), portrayed as a termagant whose quarrel with the Palace over South African sanctions is driven solely by unfeeling greed and an eye for her offspring's commercial opportunities. The infamous "no such thing as society" comments get predictably dim treatment, a waste of Gwynne's elegant steeliness. It's a reminder that while the monarchy has moved on, British political drama remains firmly stuck in the 1970s.

At the refurbished Old Vic in Bristol, Tom Morris, one of the most refreshing directors on the block, offers collaboration with Cape Town's Handspring Puppet Company, reprising a partnership which brought us the National's palpable hit, War Horse. This time, A Midsummer Night's Dream is adapted and to be charitable, it's half a success.

One of the confusions is the sheer profusion of actors, dolls and other contraptions on stage. There are classical masks, puppets of various sizes, an animist Puck conjured up by three actors crouching behind bits of kitchenware, and Bottom-as-ass suspended on an elaborate trolley. While admiring the technical mastery, you do find yourself wondering whether it is worth all the bother. The production fizzes with intellectual ambition, but an able cast of actors is upstaged by things on strings and bits of wood. Morris says he wants to do Shakespeare without puppets next. Good call.