As a foreign theatre maker living and working in the UK, I exalt radical approach towards Shakespeare, especially when it comes to mainstream theatre. Fortunately there is The Barbican, the fantastic work that Phyllida Llyod has done at The Donmar Warehouse and of course Emma Rice's tenure at The Globe but I do feel that overall most of the British theatre directors are still quite safe when it comes to The Bard.I've heard mixed things about Joe Hill-Gibbins MEASURE FOR MEASURE but his latest production A MIDSUMMER NIGHT'S DREAM is a striking and invigorating examination of human consciousness.
In his production of A MIDSUMMER NIGHT'S DREAM Joe Hill-Gibbins concentrates on delving into the nightmarish aspect of one the most famous Shakespeare's comedies. Omnipresent violence and a sense of male entitlement set the tone of the piece from its very beginning. The love? One questions if the famous male lovers Demitrius and Lysander are driven by love or lust, especially as in one of the scenes Hermia is forced to physically fight Lysander, as he pursues his desires towards her. Overall this is a strong statement from Hill-Gibbins, as the male protagonists of the play desperately hang onto their primary instincts, barely acknowledging the needs of women around them. The only directorial choice that slightly jars is that of Titania's submissive attitude towards Oberon, it erases a real potential for struggle and prevents from building on the mystical nature of The Queen of Fairies.
Despite Hill-Gibbins emphasising the darker themes of A MIDSUMMER NIGHT'S DREAM, the production offers plenty of comedy and laugher. All of the Mechanics are skilled comedy actors, and Leo Bill excels as androgynous Bottom. Even though at times the direction could move more towards making the most of the language, full of clues and innuendos the balance feels just about right. There is a real sense of unity amongst the stellar cast, which only compliments the director's vision of conveying a sense of human madness. Michael Gould as Theseus/Oberon and Anastasia Hille as Hippolyta/Titania are a great duo as their command of verse is music to audience's ears, and I would be surprised if Oliver Alvin-Wilson (Demetrius) is not going to raise to the status of a theatre star very soon.
Johannes Schütz's set, a pit filled with mud, provides a playground full of opportunities. The players fall into it face on, fight in it and make love. By the end of this two hour physically driven production, the dirt on the performers' clothes, together with exhaustion creates a strong image of the aftermath of this messy, violent and unnerving dream. The mirrors at the back of the stage are constantly reflecting on what's happening on stage, at times allowing the players to pause and try to look into their own reflection.
“Are you sure, we are awake yet?” repeats Demetrius in the final moments of the piece. A sense of horror and confusion fills the auditorium, as the political current climate could not be closer to this tormenting and unhinging dream filled with unequal rights and violence. Although not without its faults this A MIDSUMMER NIGHT'S DREAM is one of the most thought provoking and mesmerising adaptations I have ever seen and one that will stay with me for a while.
Killer is essential, dirty, horrible, necessary, original, spine-tinglingly delicate and brutal in equal measure, irrevocably stained upon your mind for hours after, and wholly inspiring.