A Dream like no other
Another collaboration between the touring theatre company Headlong and Shakespeare’s Globe, A Midsummer Night’s Dream is seemingly the perfect vibrant show to lure cold Londoners out of their winter hibernation.
Completed in 2012, the Sam Wanamaker Playhouse is the intimate indoor venue located just a few steps away from the iconic wooden O that is Shakespeare’s Globe. Echoing the Blackfriars Playhouse used by William Shakespeare’s theatre company from 1609, this venue gives an audience experience just as authentic as its more well-known neighbour.
A classic Shakespeare play, A Midsummer Night’s Dream follows the story of four young lovers, driven into the forest and unexpectedly set upon by mischievous fairies. Although in this version ‘murderous’ is perhaps a better adjective to describe the fairy folk. Described as exposing the ‘shadowy underbelly’ of the play, this dream turns swiftly into a nightmare.
While other productions lean into the comedy of the piece, downplaying the sinister undertones, Headlong draws them out, highlighting the tyrannical rule in Athens amongst the mortals. This is mirrored in the fairy world, with skilful double-casting demonstrating how, when it comes to the humans, fay are always in charge.
Every menacing suggestion in the script is fully explored, with extreme violence peppered throughout this, somehow still very amusing play. Sergo Vares plays a complex and frightening Puck, who charms us just enough to take his hand at the end. Pria Kalsi is an unnervingly convincing child and a distressingly courageous Flute playing Thisbe.
The cast, directed by Holly Race Roughan, is incredibly strong, helping to sweep the play along in just over 2 hours. Costumes by Jackie Orton are both fantastical and steeped in realism, with the mortals donned in winter finery to combat the snow and fairies mirroring the costumes of the ballet Swan Lake. Titania (Hedydd Dylan), is the Black Swan and her fairy servants swirl around her in black tutus, while Oberon (Michael Marcus) is a violent Prince Siegfried.
Lit by candlelight and accompanied by haunting live music, this production feels completely immersive. Performers use the seating banks as a playing space, entering and exiting through the rows, occasionally addressing audience members specifically. Max Johns’ stage design features snow, a banquet table and an upright piano which the actors take turns playing, allowing the cast to use the small stage to it’s absolute maximum.
This production is a twisted, truly unforgettable version of one of Shakespeare’s most performed plays, a witty comedy with the tragedy turned up to eleven. An unmissable piece in the Shakespeare’s Globe winter season.
This show runs at Shakespeare’s Globe until 31st January. Tickets here.