We sat down for an exclusive interview with Kalifa Taylor, who is playing Hermia in ‘A Midsummer Night’s Dream.’
‘A Midsummer Night’s Dream’ runs until 23rd August in East London- Tickets here
A Midsummer Night’s Dream is such a beloved and chaotic Shakespeare comedy. What excited you most about stepping into the role of Hermia?
I’ve always viewed Hermia through the lens of how she loves. She adores her childhood friend Helena, and genuinely wishes to see her happy with Demetrius. It could be argued that she has some filial love, or rather, duty, to her father; however, no love is stronger than her self-love and her love for Lysander. She is often defined by her beauty by other characters, but she is so much more; Hermia is steadfast in her decisions and willing to risk death to be with the man she loves. That is no small thing. She’s determined and brave, and her strength lies within the conviction of her actions.
This production promises a contemporary, high-energy take on the play. How would you describe the world that Rosie Frecker and the company are creating?
At its core, I believe it’s capitalism versus nature. The lovers, specifically Hermia and Lysander, escape to the forest to remove themselves from a suffocating society. They hope to seek sanctuary within the forest, but inadvertently become embroiled in the schemes of the local inhabitants. Fairy costumes made of recycled materials, reflecting discarded litter, represent not only capitalism’s destructive effect on the natural world but the fairies’ attempt to reclaim it whilst the natural order has been disrupted. The fairies are raw and wild and, at times, quite unsettling. I think audiences will particularly enjoy them.
You previously received an Off West End Award nomination for playing Helena in All’s Well That Ends Well. Has your relationship with Shakespeare evolved through performing these roles?
I relish any opportunity to perform Shakespeare. I’ve been lucky enough to perform such varied roles in Shakespeare in my professional career so far. From Player in Hamlet, Helena in All’s Well, Tranio in Shrew and now Hermia. My ethos in performing Shakespeare is comprehension and fun. I want to make sure every member of the audience understands what is going on so they can truly go on a journey. There is sometimes still an elitist air around Shakespeare when that’s not the case; it’s for everyone, and anyone who enjoys stories. His plays seem fantastical, especially because of the heightened language, but at their core, the concepts explored are all things we know. Loss, love, friendship, moral dilemmas, etc. He explores notions of humanity, just in elevated scenarios.
Outdoor theatre has such a unique atmosphere compared to traditional indoor spaces. What do you love most about performing Shakespeare in parks and open spaces?
Outdoor theatre is highly accessible, and Shakespeare thrives when performed outside. Being outside creates an intimacy between the performers and the audience; they truly become part of the world. In traditional theatre, the house lights go down, creating distance, giving the theatre a more voyeuristic feeling. Outdoors, performers and audience are on a level playing field; there’s no hiding in the dark. You get beautiful moments of direct address and audience participation. Shakespeare often creates beautiful imagery when referencing nature: “ this brave o’er hanging firmament majestical roof fretted with golden fire”. What a privilege as a performer to use that type of language whilst being immersed in the very thing you’re describing. And, at this point, it seems odd not to perform Midsummer in a forest!
There’s a real sense of joy and escapism in A Midsummer Night’s Dream. Why do you think audiences continue returning to this play generation after generation?
Midsummer has all the classic tropes: magic, lovers, a play within a play, mistaken identity, the list goes on. I also think the pursuit of love at the core of the play is very resonant. I believe people are once again yearning for true connection. We are seeing a rise in frustration, particularly in young people, with the state of dating and romance. The classic tropes of forbidden and unrequited love. Seeing the pair of lovers not only chase their dreams but also achieve them is something to strive for. Plus, there’s no death, and it’s a happy ending! Escapism at its finest.