Gregory Dorans RSC production (2005) By Rachel Meldrum Theseus - Miles Richardson Hippolyta - Brigitta Roy The production opens with a duel between two warriors. They take their masks off to reveal themselves as Theseus and
Hippolyta who announce that they will be married in four days time. This is the first of many references in the play to the moon. In this production, their marriage is a marriage of equals Hippolyta is marrying Theseus of her own free will.
Hermia - Sinead Keenan Theseus - Miles Richardson Lysander - Trystan Gravelle (left) Egeus - Tom Hodgkins (right) Demetrius reacts angrily to Helena who has chased him into the forest. Oberon is invisible to them. Oberon - Joe Dixon (left) Helena - Caitlin Mottram Demetrius - Oscar Pearce (right) Act 2, Scene 3The lovers fight in the forest
All the mechanicals sport Brummie accents, with Malcolm Storry a glorious, irksome Bottom and Paul Chahidi a laidback Quince who turns almost into a superhero during the Pyramus and Thisbe routine.
Bottom - Malcolm Storry Snout - David Rogers Snug - Edward Clayton Thisbe/Flute - Jamie Ballard Wall/Snout - David Rogers Pyramus/Bottom - Malcolm Storry Videos from this production Videos of: 1. The last scene 2. Interview with Gregory Doran on whos who and how he mak
es each lover distinct 3. Interview with Gregory Doran on comedy vs tragedy 4. Interviews about the fairy world 5. Interviews on the final scene: Gregory Doran about how the forest changed them Demetrius about how it was a dream Demetrius about the ending About Theseus
Reviews Gregory Doran, a director who pushes the boat out but never gets out of his depth. This version of A Midsummer Night's Dream is clever, well-presented and highly enjoyable, But for once I'd also like to mention some of although it doesn't quite make it into the the minor roles. Ryan Gage is extraordinary as "unmissable" category Francis Flute, the bellows mender, a skinny, British Theatre Guide, Steve Orme nervously grinning youth who suddenly
discovers a radiant self-confidence in his female role as Thisbe, and unexpectedly makes the otherwise farcical performance by the mechanicals genuinely moving. The It made me realise that puppetry presented Telegraph, Charles Spencer pitfalls to the overzealous director; I thought the idea of Titania's changeling child as a puppet lovingly manipulated by fairies had merit, but in practice it failed to come off and looked a bit gimmicky. The Guardian, Lyn Gardener Gregory Doran's production was presided over
by an enormous full moon which travelled across the stage during the show, exerting its influence over mortal and immortal alike. Staging The modern-dress production began with a sword-fight between two warriors who revealed themselves to be a sparring Theseus and Hippolyta. Sinister fairies attended on Oberon and Titania while the Changeling Boy, the cause of their quarrel, was represented by a life-sized
Bunraku puppet. Stephen Brimson-Lewis's forest set featured a giant U-shaped junk-heap and Bottom was wheeled around in a discarded supermarket trolley. A great mirror at the back of the stage reflects the audience themselves so that we seem to be simultaneously in the theatre and in the world of the play itself. The Guardian Oberon squeezes the juice of a flower onto Titania's
eyes as she sleeps in her bower. It makes a suitable framework for a production that is full of energy, invention and charm, but has yet to achieve transcendence. The Guardian, Michael Billington This simple set allowed for spectacular lighting to create environments: an
overhead spherical moon moved gradually downstage throughout the first half, casting shadows of different shapes on the back wall as the night progressed. Peter Kirwan
Summary Mirror reflecting the audience Opening sword battle between Hippolyta and Theseus Modern dress Brummie accents for the mechanicals
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