Everyone knows that A Midsummer Night’s Dream is one of Shakespeare’s queerest comedies. It’s hard to tell any of the four young lovers apart, Hippolyta the captured Amazon Queen is clearly ripe for a feminist revision, and the affair between Bottom and Titania already spans class and species barriers – so surely heteronormativity isn’t much farther to go?
Nicholas Hynter’s “immersive” production at the Bridge Theater in London takes all these hints, doubles them, and redoubles that doubling. I’ve rarely seen a livelier production.
Queen Hippolyta, cross-cast as Titania and played with stately majesty by Susannah Fielding, arrjved first into the central staging area, which was an open pit, partly filled by a standing audience who were often shooed out of the way for entrances and exits. The Queen at first was inside a glass box. Silently watching the opening exchange between the Athenians, she clearly sympathized with Hermia, whose father was trying to block her choice in love. The Queen placed her hand on the glass – and everyone turned to look.
From that point on, the women – especially Hippolyta/Titania but also including the mechanical playwright Mistress Quince, are mostly in control of things.
The core textual inversion around which the production turns gives the changeling boy to Oberon – which means Titania comes up with the plan to dose him with the love juice. The Bottom-Oberon scenes, one of which includes a bubble bath, are deliciously queer.
The other big staging innovation was aerial acropatics, Puck, played brilliantly by David Moorst, along with the other faeries, played half of the show hanging upside down from slings that descended from the ceiling. Moorst, who also played the same role in the 2019 production of the same play at the Bridge, was an especially agile acrobat, and his nicely bitter northern accent gave some of his lines a sinister turn.
Bottom, played by Emmanuel Akwafo, was the star, as usual, and his glorious scene-chewing at the death of Pyramus – he mimed the on-screen deaths of Tony Montana, Harry Potter, Oz’s Wicked Witch, and a couple of others I didn’t catch – was only one highlight.
I was sitting in the first row above the pit, because the standing room was sold out when I bought my ticket.The people standing below me had the best views, and also got to join a dance party with the cast at the end. If you go, it’s worth it to stand!
When Hippolyta, on a hunting trip with Theseus, played by J.J. Feild, who was more fun as Oberon, muses about having hunted before with “Hercules and Cadmus,” I tend to read that line as damning her fiance Theseus with faint praise. He’s not a demi-god like those guys! In this Hippolyta-Titania powered production, the line read even more than it usually does as an assertion of power.
Back in the 1990s, one of my favorite pieces of experimental Shakespeare was the Donkey Show. Staged in a disco in Chelsea, with the parts of the mechanicals distributed to two guys named “Vinnie from Queens” who jostled in line with us before Mr. Oberon let us past the velvet rope into his dance club, it was also deeply immersive and took place partly on a dance floor. That show’s trick was replacing all of Shakespeare’s words with disco lip-synchs from the ’70s – Stayin’ Alive, I Will Survive, &c. This Bridge Dream kept Shakespeare’s words but captured that same anarchic spirit of celebration.
If you’re in London this summer – go see it!
