A WHIMSICAL, ECCENTRIC, AND GLORIOUSLY QUEER PRODUCTION

By Katie Shaw | @katieeshaaw ⭐⭐⭐️⭐⭐ | Press Invite

REST IN PEACE, William Shakespeare, you would have loved Emily Lim’s adaptation of A Midsummer Night’s Dream at Shakespeare’s Globe Theatre. Bursting with eccentricity, this ensemble delivers uproarious performances and perfectly choreographed songs, dance and movements that even Louie Spence would envy.

It’s a tale as old as time. Egeus wants his daughter, Hermia, to marry Demetrius, but Hermia and Lysander are in love, with plans to elope. Demetrius also loves Hermia, but Helena, Hermia’s best friend, loves Demetrius. On the eve of Hermia and Lysander’s planned elopement out of Athens, mischief brews in the forest where Puck and his motley crew of tradespeople are rehearsing their play, The Most Lamentable Comedy and Most Cruel Death of Pyramus and Thisbe, to be presented at the upcoming royal wedding of Theseus, Duke of Athens, and Hippolyta, Queen of the Amazons. While the two lovers lie asleep in the woods, Puck sprinkles a love potion into various characters eyes: Titania, Queen of the Fairies; Lysander, and Demetrius – even transforming Bottom into a hybrid donkey / fairy in the process. Both Lysander and Demetrius awake to find themselves in a thirsty pursuit of Helena – a consequence of the potion. Naturally, chaos ensues, and the dynamics that once were shift into an über horny vie for Helena’s attention that only Puck – with the help of audience member, Steve – can fix. Got it? Keep up…

Having watched various modern Shakespeare adaptations, none could come close to what this adaptation has to offer. The entire cast is extraordinary – their knack for physical and verbal comedy is spellbinding, and every single cast member boasts a magnetic stage presence that makes it impossible to look away – whether there is one character on stage or fifteen. There are several interactions between the cast and the audience that feel playful and entertaining, when it could feel forced or overdone. Michael Grady-Hall is effortlessly funny as Puck, who practically courts poor Steve, eventually recruiting him as a partner in love potion crime. Shoutout to Steve and the various audience members who get involved – whether willingly or not – and play along brilliantly, embracing the beautiful mayhem with open arms.

With productions over 2 hours long, it can be a hard task to keep the audience engaged and entertained throughout. In addition to the many memorable audience interactions, this production also keeps the audience engaged by weaving modern references into its dialogue. Lysander has a Cynthia Erivo moment, Bottom responds to getting cast in the play with a ‘get innn!’, and someone jokes about delays on the Elizabeth Line. This adaptation feels relevant in spite of it being written in the 16th century, and that is down to the efforts of the entire crew – everything from its set design, to the costumes worn, the choreography, the writing, and the score. The five-piece orchestra position themselves on the stage balcony, shaping the sentiment and pacing of the play with their music, adding another layer of brilliance to this production.

This is a whimsical, eccentric, and gloriously queer production. The cast lean on slapstick humour to create a world that is full of merriment, raunchy comedy and fantastical fun. It is delightfully unfiltered – never did I think I would see such horny Shakespearean actors, with Titania crawling across the floor in pursuit of Bottom, even breaking into a dance that feels very Megan Thee Stallion ‘WAP’ inspired. You won’t forget these performances in a hurry – nor will you want to.

If you consider yourself a fun sponge, I would strongly advise against going to watch this production, unless you’re ready to be converted. I tip my hat (or cap, it’s almost summer) to the entire cast and crew for creating something so gloriously fun and triumphant – I cannot recommend this adaptation highly enough.

A Midsummer Night’s Dream is running at Shakespeare’s Globe Theatre until Saturday 29 August.

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Photo Credit: Helen Murray