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A Midsummer Night’s Dream, Shakespeare’s Globe Review – An explosion of color from our post-vaccination future A production that hints at the play’s darkest edges in a joyous absurdity
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A little less than two years after the appearance of Sean Holmes’s Latin American carnival-style A Midsummer Night’s Dream on Thomas’ side, it’s back to a very different world.
Midsummer Night’s Magic At Glyndebourne
It is no longer a natural expression of the kind of happiness we value, but a reminder of what we can be again — a burst of color from our post-vaccine future.
The Globe is, for obvious reasons, one of the best ventilated theaters in London, but full social distancing measures are in place and the cast reminds us that we must keep our masks on if it’s possible to live an evening like this. The audience is being decorated with a rainbow-colored brass band before the stage is cleared with nothing but a box marked “Delicate” on it.
From the moment Victoria Eliot’s warrior queen, Hippolyta, bursts out of the box, complete with breastplate, there is no doubting the contempt we have for Peter Burke’s Theseus. The opening scene
Mendelssohn: A Midsummer Night’s Dream [blu Ray]
After all, there is a distraction. Not only does it show that Hermia is threatened with death for refusing to marry Demetrius, but the text strongly suggests that Theseus abused Hippolyta when he defeated her in battle. So while she is not fragile, she is trapped. And Burke’s Latin-American dictator-style attire is as telling of the context as the lovers’ decision to flee his influence into the jungle.
Yet overall it’s a production that revels in gleeful silliness, often hinting at the game’s darker edges. Both Elliott and Bourke are doubling up for returns from the 2019 production as Hippolyta/Theseus and Titania/Oberon, and Elliott looks particularly a ball as she rides off into the woods on a pink scooter in silver high-heeled boots as Titania. . It’s a scene-stealing turn, especially with her comedic timing and singing. Although she gets more than Sophie Russell, who replaces Jocelyn’s Essene as a literal-incontinent bottom, brilliantly clad in a metallic red jacket and bright leopard-print trousers, she transforms into a carnivalesque donkey. before
In contrast to the rainbow explosion of the rest of the cast, the lovers are dressed in black and white – the aesthetic a mash-up of Tudor and modern streetwear, with riffs like body armor protruding from the shoulders and back, and boots. – Behaviour. Only the charismatic Ciarán O’Brien returns as Demetrius from 2019 – Nadi Kemp-Seffe is a wise and compelling Hermia; Bryan Dick is a charming bolshy Lysander. And Shona Babayemi exudes both strength and pathos as Helena.
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It is one of the great innovations of this production that Puck appears as a flash mob, with several members of the cast doubling up to help put an end to the anarchy – this is set up to particularly good comic effect. Is the result of the game, as different pix compete. Give the last word. Badass Mechanics remains a highlight, with Nadine Hagen’s blue-tressed disco-leader Peter Quince (pictured above) happily engaging, whether she’s leading a rehearsal or singing “Love Caravan” to an audience. It is stimulating. In this twisting crowd, Rachel Hannah Clarke makes her mark as the comically terrified Sung, who starts out as a cowardly lion but suddenly finds her roar when the spotlight is shone on her.
Mostly, though, it’s a production that shows that life as we once knew it is possible again. Jin Chan’s riotous designs, all hallucinogenic jungle creepers and wild party clothes, are a tonic from the start. We feel that with just a little care, we can once again enjoy love, laughter and music. Carnival was always a disruption of the status quo. But here it is about the freedom of the human spirit that has been feared and limited for far too long.
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The Changeling, Southwark Playhouse review – The wild ride proves too awkward to land all its points, an extra gimmick and uneven tonal imbalances A new take on a Jacobean epic, a memorable production for Glyndebourne regulars over the decades There is no shortage. But one in a class of its own is Peter Hall’s 1981 staging of Burton’s A Midsummer Night’s Dream. A classic by any definition, the production has been running for 35 years by James Bowman and Eliana Kotrobas, the original Oberon and Titania, first put on pointed ears, and has now been revived nine times.
Since then, there have been more ambitious productions elsewhere – not least Christopher Alden’s at ENO, with its grasp of Burton’s intuition that the magic of Shakespeare’s fairy world is too far-fetched. The word repeatedly used to describe Hall’s production, with its hallucinatory set by John Barry, is “magic” and the summary is entirely accurate.
William Shakespeare’s ‘a Midsummer Night’s Dream’
But one of the reasons for its longevity is that, while the product itself is relatively traditional, the seats are not all natural. Bury convinced Hall that the wood for the first two works should not be the traditional green but black (actually all dark green and blue) and silver. Reflective surfaces and shadowy moonlight may not be realistic, while living, moving trees and foliage (covered in leaves) certainly aren’t. For Act 3 and the point of sunrise, the wood is bathed in a pale yellow-orange light, with wide mirrors adding depth and light.
The cast assembled for this passionate revival by Lynn Hockney, with the magnificent London Philharmonic, conducted by Jakob Hrussa, is a strong ensemble of the kind so well cultivated by Glyndebourne. The new Oberon, Tim Mead, born in the year of the original production, reminded us that Hall was able on his own terms to convey an element of mischief in the fairy world, with his appropriately commanding tone and stage presence. As her queen, Kathleen Kim’s Titania uses her complexion to great effect.
The four lovers – Duncan Rock (Demetrius), Elizabeth de Schong (Hermia), Benjamin Holt (Lysander) and Kate Royal (Helena) – rise brilliantly to the challenges of their roles, nowhere more so than their In the glorious fourth of the combination. Also deserving of special mention are Matthew Rose’s Strong Bottom and Michael Samuel’s superbly illustrated Thesis.
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Even in one stand, the young puck playing, David Evans, all but stole the show with his irrepressible heart, earning the biggest reception of the evening. It was the last evening I saw a dance show in a theater – the Joffrey Ballet at Cal Performances. Across the bridge that same night, the San Francisco Ballet (SFB) was celebrating the highly anticipated return of George Balanchine.
At some point in the future the war memorial will return to the stage. But in the meantime, SFB has chosen to bring its audience a freshly filmed version of the ballet as its first program of 2021. And what a beautiful way to kick off the digital season!
It’s charming, good fun, delightful escapism. Martin Pakledinaz’s costumes and set design are full of color and joy. Mendelssohn’s score marries delicate expressive dynamics with grandeur. But the real triumph is how Balanchine was able to, in
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