He was born in Stratford-Upon-Avon, son of John Shakespeare, a prosperous merchant and local politician and Mary Arden, who had the wealth to send their oldest son to Stratford Grammar School. At 18, Shakespeare married Anne Hathaway, the year-old daughter of a local farmer, and they had their first daughter six months later.
Open to the elements, and the noises-off from a busy city, intimate and involving, with little of the technical wizardry available in a modern theatre setting. Looking not altogether unlike a half-timbered overweight rocket-ship, it is an ingenious edifice of scaffolding, timber and metal decking.
It is among the most accessible plays in the Shakespeare canon, perennially popular, light and frothy, it ideally suits an external performance in the most glorious summer in memory.
In a wood outside Athens, two pairs of mismatched lovers, two groups of warring fairies, led by their combative monarchs, together with a ramshackle troupe of amateur actors, provide a three-ring circus of comic confusion, magical mayhem, and general buffoonery, before all ends happily ever after for all parties.
The bespoke theatre has obviously brought opportunities for creative exploitation of the traditional playing space of the Elizabethan theatre. These are fully utilised in a production blessed with an energetic, acrobatic cast, and a director for whom choreography includes rope-climbing, ribbon spinning, and gymnastics.
The fairies, in particular, own this space. They slide down drapes, climb over the structure, balance on the ropes, swing around the set, and generally monkey around.
They are half satyrs, half chimpanzees; earthy in tone, sylvan creatures, athletic, mischievous, threatening. Rather than being fey, these are creatures of the darkness and the night. Both Oberon and Titania played cross-gendered by Amanda Ryan and Anthony Bunsee are tough-minded rulers of magical but mighty kingdoms, not effete sprites.
The fairies are a silent, watching presence on the stage throughout, as the humans play out their convoluted romances. The humans have less interesting space to inhabit.
Terra firma is a confusing space when overlaid with magical interference from the fairy kingdom. Olivia Oneyehara and Mark Holgate do their best to make sense of it all as the decent, if strait-laced, Helena and Demetrius.
Understudy Niall Costegan took on the role of Lysander on press night, giving a fluent performance, while Amy Lennox stole almost every scene as a pugnacious, passionate Hermia.
Also on Terra Firma is the artisan theatre troupe rehearsing their nuptial entertainment away from prying eyes in the forest outside Athens. Ostensibly led by Peter Quince, ably played by Rina Mahoney, the most forceful personality in the am-dram group is unquestionably Bottom, the Weaver.
Paul Hawkyard gives the role its full rein, and then some, in an earthy, warm-hearted portrayal of this larger-than-life character. Nothing in his performance is out of place. Not even his brutal addition of an orifice to the wall separating Pyramus and Thisbe; one of the funniest moments of the play.
The timber stage is as bare-boned as it could be. The fairies add a network of thick ropes to assist their acrobatics, and these are also employed imaginatively to create thickets, and to provide weapons for the feuding lovers. This apart, the production uses little more than the skill of the actors, and the imagination of the audience, to augment the production.
The music is live and sometimes lively, providing a magical soundtrack to the show. Or would do, if it did not sometimes drown out the very speeches it is intended to enhance.
When appropriate, it works well to augment the tension or the ethereal nature of a scene, and it hits a raucous highpoint with an ensemble cossack dance. There was a noticeable improvement in the incidental music when the percussion gave way to the cello.
The press preview was a daytime matinee, in full sun, and with none of the enchantment which an evening performance might add to the occasion, as stars come out, moonlight streams, and shadows disguise the everyday workings of the theatre.
Nevertheless, this was a magical production, full of invention and energy, in a wonderful space.Find helpful customer reviews and review ratings for William Shakespeare's Midsummer Night's Dream in Short at metin2sell.com Read honest and unbiased product reviews from our users. A Midsummer Night’s Dream play starts and ends in Medieval Athens at a time when the atmosphere is one of celebration and love, as the Duke, Theseus, prepares to marry the Amazon Queen, Hippolyta.
The action moves to nearby woods, inhabited by fairies. A Midsummer Night’s Dream review – the wildest of dreams 4 / 5 stars 4 out of 5 stars. Shakespeare’s Globe, London Emma Rice’s first production as artistic director at Shakespeare’s.
Is WILLIAM SHAKESPEARE'S A MIDSUMMER NIGHT'S DREAM family friendly? Find out only at Movieguide. The Family and Christian Guide to Movie Reviews and Entertainment News. This is a wonderful film and an excellent version of the classic that was done so very, very well in and No, this is not the Royal Shakespeare Company, it's Hollywood but damn good Hollywood.
William Shakespeare's 'A Midsummer Night's Dream': Conflict Resolution and Happy Endings Students analyze the characters and conflicts in Shakespeare's 'A Midsummer Night's Dream.
In this conflict resolution lesson, students read the play and track the character actions with the specific plots.