A Midsummer Night’s Dream at the Bridge Theatre Review
Photo by Manuel Harlan.
Written by Mia for Theatre & Tonic
Disclaimer: Gifted tickets in exchange for an honest review
Shakespeare. Love him or hate him, I would argue that to really appreciate his work, you need to experience it, rather than read it. If it’s immersive, so much the better!
With so many iterations of A Midsummer Night’s Dream over the years, one might argue it’s impossible to do something new. Yet Director Nicholas Hytner and his production team have proved that anything is possible.
While the beginning feels slightly bizarre, bleak, and bland, any concern is short-lived as the show bursts into the auditorium in a flurry of music, color, and artistry. Aerial performers soar at great heights, and the presence of fairies twisting and turning above the stage adds a level of danger and excitement to the production.
Hippolyta (Susannah Fielding) stares the audience down from a cage before transforming into the ice queen Titania, with her and Oberon (J.J. Feild) switching roles effectively so it is she who manipulates him into being enamoured of an ass. Personally, I feel that this change is an improvement as it gives Titania more depth, and contrasts nicely with Fielding’s secondary role as the defeated and captured Hippolyta.
David Moorst is an exceptional Puck, portraying them as we have come to expect, but with an added edge that evokes a hidden maliciousness. Combined with acrobatics, it’s an effective interpretation of this mischievous sprite. All the fairies are to be commended for their playful approach to the characters, as well as their prowess in aerial performance. Their costumes (Christina Cunningham and Bunny Christie) are contemporary, colourful masterpieces, and these scenes are a joy to watch.
The lovers’ scenes feel slightly overshadowed by the fairy moments, but are still effective, with new interpretations of certain scenes, which work well.
The mechanicals are as random and hopeless as ever, and it’s a subplot that never fails to amuse, with Emmanuel Akwafo delighting everyone as Bottom, combining mild arrogance and naivety to bring the character to life. Their matching sweatshirts at the end are a nice touch that screams am-dram (or pop choir).
This version is extremely physical (with movement well designed by Arlene Phillips), and actions speak louder than words, with side glances, gestures, and facial expressions enhancing the story throughout. There are also several modern additions in terms of script that add to the comedy and provide an extra layer for many of the characters.
Although perhaps not as immersive as expected, audience members in ‘the pit’ do feel part of the performance, following the story physically and mentally as they promenade. Most of the action takes place on raised platforms so - despite extremely tall people trying their best to block everyone’s view - everything is visible.
It’s hard not to get swept up in the moment, especially during the second half, where most people are wearing purple flowers in their hair, holding hands, dancing, and singing!
A little chaotic at times, this is a brilliant interpretation of one of Shakespeare’s most beloved classics.
A Midsummer Night’s Dream plays at the Bridge Theatre until 20 August.
★★★★★
