How now, spirit, whither wander you?
Robin Goodfellow - "Midsummer Night's Dream"

A Midsummer Night's Dream

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Modern Practices Production, exploring clothing, music & settings possible in 2002.

This is one of my favourite Shakespeare pieces and I was, of course, very interested in the staging, especially since it was a modern practices production. I saw ‘Macbeth’ in 2001, which was very good, but a bit of a shock ;D.

Now, MND was absolutely brilliant. In each and every respect (even including the weather!) Enthralling! Just what I had thought it should be. I have only ever read the play before and seen the movie adaptation starring Michelle Pfeiffer and Kevin Kline, so I had fairly clear images in my head.

Which were all replaced by what I saw on stage ;D. The stage version had, apart from the obvious ‘close-enough-to-touch’ mentality, the advantage of originality. The film is pretty much as one would expect from the topic, the staging at the Globe was more daring.

The cast came out with air mattresses of (dark) green satiny stuff with pillows and blankets in matching shades of green and dark blue; these were embroidered nicely in lighter shades of the same colours.

Costumes were pyjamas, nightgowns, dressing gowns and mantles, all in hues of blue, green and white; this did not only help to create a “woodsy” effect, but also a very smooth and relaxed atmosphere overall. No garishness, very pleasing to the eye, blending in with the stage and keeping the performers’ talent in the foreground.

The cast all had double roles (see cast list for details) - mortals and fairies, which was made easy with a thoroughly brilliant trick of costume.

Hippolyta wore a white silk gown and gauzy whitish blue mantle over it; Theseus sported dark blue, glossy Chinese styled pyjamas. My association was with wind and freedom (Titania) and sombre, more down-to-earth matters (Oberon).

Lysander came out in whitish-beige pyjamas and a dark blue dressing gown with white dots; same style as Demetrius’ costume, which was a shade lighter blue. Helena was in a silken night gown and mantle, both in soft, silvery grey with white embroidery, while Hermia wore white silk pyjamas with a sky-blue satin jacket on top.

The craftsmen were seen in blue-white striped pyjamas, Flute and Peter Quince in long lightly striped nightgowns, the blue coming in various shades. Perhaps it was black too, I’m not entirely sure. The stripes were going downwards, they did *not* look like prison inmates ;D. Egeus wore a dressing gown in dark blue with whitish borders and I guess his pyjamas matched.

I loved Puck’s costume though - very much in character with the mischievous little boy interpretation: dark blue flannel pyjamas with big white cuffs and a star motive in front. You could practically *see* the little kid in there ;D.

For the scenes were the lovers wander the wood, they changed twice - once into slightly torn versions of their costumes and once into pieces that were still more torn; and they “lost” clothes. Some of the performers were barefoot, the others wore thin, skin-coloured shoes (reminded me of jazz dance shoes).

Now, as I said, the cast played both mortals and fairies - when they were fairies, they would turn on the minute sparkling light bulbs that had been sewn onto the embroidery of their costumes (they had a button attached to their wrists). Oberon and Titania also had a thin circle of lights in their hair for crowns.

The costume department alone deserves an award for this. That’s what I call imagination and skill. Simple, light and yet so very effective.

Another thing I found fascinating was pointed out by John Ramm (Bottom) whom I heard in ‘Talking Theatre’ after one of the performances. He told us the director (I think it was ‘Master of Play’ Mike Alfreds) had wanted them to discover their roles anew out of their interactions with each other in every new performance.

I actually did notice quite a few differences in the two shows I saw. Performers are not required to always be in the same spot at one given time - there are no spotlights or programmed lighting after all; they have the freedom to move around on stage and they actually made good use of it.

For example: I remembered a scene where Puck was standing on the left side of the stage. Well, second time I saw the play he was on the *right* side of the stage. And it didn’t matter. Because that’s where his colleague was too… It’s really marvellous, gave the performance a fresh, new charm; and I suppose it keep the performers from getting bored ;D.

Hm. I got a bit off track here. I had wanted to give you a short glimpse of the first scene, mainly cause I found the staging fantastic. I mentioned the actors coming out with the air mattresses and blankets/pillows. Well, they all settled down comfortably at different parts of the stage.

Helena was on the right, leafing through a copy of ‘Vogue’ before turning in, Peter Quince (I think) brushed his teeth and spit the water he had used for gargling in the direction of the groundlings (audience standing in the pit before the stage).

Other set up alarm clocks, Lysander and Demetrius put down their pocket radios - they used them - antenna extended - as swords later on. Flute had a teddy bear to snuggle up with *cute* and Puck was playing with a stuffed donkey. He’d let it gallop across his sheets and make hrumpfing noises, now and then chuckling madly.

Bottom then got up again, saying that the cast were all light sleepers and would the audience please turn off their mobile phones. *grins* The performers “slept” for a while, Hippolyta and Theseus in the middle. They were the first to wake up and while they spoke their first lines, the others got ready to ‘come on’ the stage.

Since I suppose the actual plot of MND is generally known, I’ll continue with my review by telling you about the actors and their interpretation of their roles.

I loved Helena as played by Louise Bush. She was poised, exasperated, shocked, outraged but never hysterical and she managed to convey a seriousness and quiet intensity and despair that was breathtaking. Her declaration of love to Demetrius was particularly stunning. Wow.

Oberon (Paul Higgins) was marvellous. Not only cause I loved his accent ;D. He was strong and wilful, with a certain heaviness that he never seemed to lose - until he and Titania made up. As Theseus he was charming and intense.

Titania (Geraldine Alexander) - wow, what a performance! She was, imo, very strong and self-assured - not overly sensual; not soft and playful, rather dry, bordering on a certain harshness. In this she was beguiling though - interpreting the character much bolder than I was used to.

I would have loved to see Ms Alexander as Lady Macbeth or Queen Gertrude - she has that poise and understated fire that these characters need - a wonderful touch for Titania. Even as Hippolyta she was strong-willed, almost angry, though never petulant.

I also fell irrevocably in love with Puck. I had noted him when reading the play, been interested in Stanley Tucci’s portrayal, but I never came to actually like the character. Till now that is.

Simon Trinder played the role with so much relish - boyish charm, exuberance and naughtiness personified. What I enjoyed immensely was his countering the belittling of mortals with his distress at Helena’s fate. And he cushioned Helena’s head as she hit it against a pillar as she slumped on the ground, lamenting her being mocked by two suitors. *smiles*

Mr Trinder seemed very energetic, doing balletic jumps all across the stage and, for his exit, he might even do a one-handed cartwheel. I absolutely adored his devilish chuckle - he would have made a fabulous Red Caboose in ‘Starlight Express’. Wonderful performance, a treat to see, very well rounded.

As Philostrate, however, he didn’t strike me as distinguished enough. He had the grave face, the elegant, efficient movements, but there was something missing. Perhaps it’s that I’ve always considered the character as being fairly old, more of a grandpa type.

Peter Quince (Paul Trussell) - what a superb portrayal! Calm, smiling, with just the right degree of exasperation in his hero-worship of Bottom. In fact, all the ‘players’ were hilarious, fabulous teamwork. Aled Pugh as Flute - wow - so timid and such an adorably shy grin.

Jem Wall as Snug - cool. Placid and quiet till he got into his role as ‘Lion’, flinging himself at Thisbe, pulling her to the ground, roaring. Ryan Early (Starveling) was the personification of the long-suffering grumpy guy. Wonderful.

Lysander (Richard Katz) and Demetrius (Keith Dunphy) were very good indeed, but I paid more attention to the ladies. Hermia’s and Helena’s fight was absolutely stunningly done. In the movie version I had the feeling it was slightly overacted, bordering on hysterical.

Ms Bush (Helena) and Philippa Stanton (Hermia) were grand with a more understated - and for this even more powerful and emotional - interpretation. They managed to convey the lovers’ pain, rather than concentrating on the ridicule and laughter their fight can produce. What a team, a rare treat.

Bottom was really superb. I never before found the character as amusing and even endearing. John Ramm gave him a very realistic touch - seeing him at ‘Talking Theatre’ later on, it was quite a surprise actually. He is quiet spoken, polite and much younger than I would have thought from his portrayal. He gave memorable performances, especially as a donkey ;D. (with a plastic cup as nose and Hippolyta’s slippers which had a white fluffy ball on top as ears, held on by a sweatband).

What I especially enjoyed was the singing. The voices weren’t all perfect, but pleasant to listen to, very fitting for the atmosphere. Ryan Early sang as a sprite to Puck (“Over hill, over dale…” Act II, scene I), then later on for the fairy queen as she settled down to sleep.

Oberon sang the last song (“Now until the break of day…”) - rather he did a sing-song version, very nice - with the rest of the cast joining in the refrain as fairies; as the three happy couples sank to the ground one by one, extinguishing their fairy lights, the song died off.

The orchestra - in dark green pyjamas - was wonderful too, the music sounded with the singers, not drowning them out, rather complimenting them and the play.

And now only a few more words about the ‘play within the play’ - the craftsmen’s “Pyramus & Thisbe”. Hilarious as it was wont to be and superbly acted.

Bottom aka Pyramus was the best. He used a mirror and/or a tootbrush as a sword to and pulled a red rope out of his white net tee as he bled to death - but he didn’t die before having flung a red, heart-shaped hot water bottle at Hippolyta’s feet as he blew her a kiss. He also wore the most outrageous shaving cream creations - in stylish white of course - as wig and beard (they were dropping on the floor whenever he moved and he tried to paste them back on - hilarious!).

Thisbe (Flute was already wearing a nightgown) put on a garishly pink vest on top and a plastic shower cap with flowers on it. Made her look like her own grandmother ;D. Wall was forced to wear a plaster cast on his arm, which he complimented with some white powder that he threw all over himself. Peter Quince, Moonshine and Lion held a white sheet in front of Wall’s legs as well.

Moonshine was forced to run around with a toilet brush instead of a thorn bush, I think he had a proper lantern though ;D. Instead of a dog he might have had Puck’s donkey, but I can’t remember this clearly. Lion had gloves with claws (looked like those wooden sticks you have your water ice cream on) and a floor mat with a hole for his mane.

The scroll on which Peter Quince had the play written was a roll of toilet paper and the parts he gave out to his actors were Kleenex from a paper box - crumpled a little, these provided the lovely white flowers that Oberon had Puck get to bewitch Titania and the mortal lovers.

Which just goes to show how you get a lot of effect with relatively simple, everyday items… ;D

Altogether I found this to be a brilliantly inventive and original production with a tremendous cast that made me want to come back every evening (if I hadn’t had other plans I definitely would have done that ;D).



Cast List

Hippolyta/Titania...Geraldine Alexander
Helena/Fairy...Louise Bush
Demetrius/Fairy...Keith Dunphy
Starveling-Moonshine/First Fairy...Ryan Early
Theseus/Oberon...Paul Higgins
Lysander/Fairy...Richard Katz
Snout-Wall/Fairy...Patrick Lennox
Egeus/Fairy...Gary Lilburn
Bottom-Pyramus/Fairy...John Ramm
Hermia/Fairy...Philippa Stanton
Philostrate/Puck...Simon Trinder
Peter Quince/Fairy...Paul Trussell
Snug-Lion/Fairy...Jem Wall
Musicians:
Phil Hopkins, Adam Grasser (Percussion/Harmonica)
Michael Gregory (Percussion)
Kaz Michalak, Ben Grove (Guitars)
Robin Jeffry, Ben Grove (Guitars)
Alyn Ross, Dave Berry (Double Bass)

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Questions, comments and suggestions can be directed to me at ferngully_at@yahoo.com.

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