A Midsummer Night's Dream

There are two reasons why you might want to watch this version of Midsummer Night's Dream. One is Helen Mirren. She is lovely and perfect as Titania throughout and her delivery of the long monologue to Oberon in Act 2 Sc. 1 does not lose the viewer's attention for a moment. That is an awesome feat considering what a difficult passage it is.

The other shining moment occurs in Act 3 Sc. 2, starting about when Demetrius wakes up to find that he is in love with Helena. The ensuing lines are delivered over top of each other, as the lovers engage in a confused quarrel. The actors add to this by pushing each other, trying to get around or over or under to talk to someone other than the one that's talking to them. Great directing and perfect timing make this scene race by like I've never seen it before.

These two shining moments hardly make up for the rest of the performance which lacks sparkle. Some parts are sung (Puck's "Jack shall have Jill" speech) which is just incongruous. Perhaps the fact that Starveling sings his part as Moonshine is a bit of self-satire.

Which brings me to the rude mechanicals who are particularly lacklustre. Geoffrey Palmer is absolutely wasted here. "Pyramus and Thisbe" is absolutely boring. There are exactly two bits of comic business (Bottom steals food from the wedding table on the line "'Deceiving me' is Thisbe's cue" and Starveling as Moonshine tries to upstage Bottom by hanging the lantern in front of his face) and they aren't exactly hilarious. If it's not funny, it should at least be moving, but although Flute (a very feminine Flute) tries, the director has cut most of the wedding party's backchat and they seem to have little interest in what is going on on the stage. Small wonder really.

There's nothing about the sets and costumes, which suggest the English Civil War, to get us excited. The entire first scene is set in a library against a background of a ticking clock. What a great way to remind us how slowly the scene is moving!

After reading some previous comments, I can only conclude that some people were watching a different movie altogether. I found this version Of A Midsummer Night's Dream to be far superior to any other that I've ever seen .

This is my favorite of all Shakespeare's plays, so I generally stand to be critical of the various treatments offered. However, I found this cast and direction to be outstanding, visually, and emotionally. The costumes were spectacular, the settings haunting, and the acting...flawless. I loved Geoffrey Palmer's work as well. I was lucky enough to catch a repeat of it years ago, and quickly taped it so I could watch it every summer.I themed my wedding after this play.

I loved Helen Mirren's portrayal as the faerie queen, Titania. I found her to be perfect in the role. Judi Dench, I believe, played it all too 70s hippie-angsty, and could have done very well without the overexposure.

The casting of an older boy as Puck, while at first seemed unfamiliar, and wrong, he quickly won me over, and soon his age didn't matter a bit. He sure beat a manic Mickey Rooney in the Hollywood version of 1935! Who, by the way, was 15 when he played the role.

I saw some scenes on Youtube the other day, and the background music has been playing in my head for 2 days now. I'm hooked again.

My birthday is next month..my husband is buying me the entire boxed set of the BBC Shakespeare comedies! Helen Mirren as Rosalind in As You Like It is superb again...as is John Cleese as Pertruchio in The Taming of the Shrew. I can't wait till next month...I'll be in Shakespeare Utopia.

This is the second time I've seen her in this play, first as Titania. The first time she was in a movie version of the Dream she was Hermia, one of the lovers. This is a good version for a class room viewing. It lacks the nudity and innuendos that Hall's and Hoffman's exhibited. This is also the one I know of where Puck is a punk. I love this version because it doesn't cut out any of the dialogue. It heightens the tension and passion Mirren's character had in the section about the environmental affects her feud with her husband has had. The costumes do not blend well with one another. It makes it hard to date and does not give the story a sense of timelessness. Also, you can get this on video. It's hard to find but it can be located at a library near you. Blockbuster will not carry it for whatever reason. PBS is a good source too but don't hold out for it.

A Midsummer Night's Dream (1981/I) (TV), directed by Elijah Moshinsky, is a BBC video production. Between 1978 and 1985, the BBC produced all 37 of Shakespeare's plays for British television. They are now available on DVD.

Although Midsummer Night's Dream is sometimes considered just a frivolous minor comic piece, it's actually a sophisticated and thought-provoking play. When it was written, Shakespeare was already a successful playwright, at was almost at the peak of his powers. He had command of his medium to such an extent that he could add two additional plots to the usual high comedy/low comedy convention of his day.

We have two sets of star-crossed lovers-- Hermia, who is loved by Lysander and Demetrius, although she only loves Lysander, and Helena, who loves Demetrius, although he loves Hermia. Hermia's father demands that she marry Demetrius. (Her other choices are to be executed or to enter a convent.) That's just one plot.

Meanwhile, in a wooded area outside the city, Oberon, the King of the Fairies, and Titania, the Queen of the Fairies, are feuding over a young servant boy. The boy is with Titania, but desired by Oberon for his entourage. When these two fight, nature goes into disarray, and people suffer.

Theseus--the mythic hero--is ruler of Athens, where the play is set. He has defeated the Amazons and captured their queen, Hippolyta. He plans to marry Hippolyta in four days, so we know that all other matters must be settled by then.

Finally, a group of working-class men ("rude mechanicals") is preparing a play to celebrate the nuptials. The play is Pyramus and Thisbe, which is about two truly star-crossed lovers who die because of their love. (Perhaps not the best choice for a wedding celebration, but that's the play they've chosen.)

Midsummer Night's Dream is a comedy, so we know that the play won't end with dead actors being carried offstage. However, sorting out and bringing all these plots to fruition required the genius of William Shakespeare.

The BBC did an excellent job with this play. Helen Mirren is superb as Titania, the Queen of the Fairies. (It's interesting that 20 years earlier she had played Hermia.) Titania is surrounded by her entourage of fairies, played primarily by children, and you really get the sense that something magical is happening. The fairies don't float in the air like Tinkerbell. They stumble and tumble along in front of, alongside, and behind Titania.

I checked the bios of the other principle actors, and they are all solid professionals. However, as far as I could tell, none of them ever attained the stature of Helen Mirren. Nonetheless, they play their parts well and they work well together in ensemble.

As I wrote in my review of the BBC's Hamlet, this movie presents us with good, solid Shakespeare. It's a very satisfying production, and definitely worth seeing. The BBC Shakespeare series was particularly popular for use in schools, colleges, and public libraries. Because they were made for TV, they work very well on the small screen.

The DVD's are expensive to purchase individually, although the boxed sets are more reasonably priced. My suggestion is to check the DVD out of your local or college library, and treat yourself to over two hours of excellent Shakespeare.

A BBC, Time-Life production from the early 1980s, this TV adaptation of A Midsummer Night's Dream has all of Shakespeare's words but none of the magic. Trying to ensure that none of the text is left out, the actors deliver their lines at a breakneck pace, almost sounding like the debating team in Rocket Science. Consequently, much of Shakespeare's nuance and poetry is lost. This is a play that relies on myth and allegory to make its point which is essentially that reality is malleable and can be influenced by the spirit world for either good or ill, yet its treatment here is cumbersome and heavy-handed rather than light and playful.

The play, replete with allusions to Greek mythology, is about a trio of mixed-up lovers: Hermia, Denetrius, and Lysander. Hermia's overbearing father Egeus is partial to Demetrius, his choice to be Hermia's husband. Indeed, Egeus' description in the play's first scene of his love for Demetrius sounds suspiciously like Shakespeare's entreaties to the fair youth in the Sonnets. In the same vein, Duke Theseus, who is marrying former enemy Hippolyta, sounds the refrain that the duty of a beloved youth is to make a copy of himself to preserve for future generations. Meanwhile Hermia is fixated on Lysander and will not consider anyone else as a husband, although choosing to disobey her father may lead to a potential death sentence or life as a nun which may be the same thing. To escape, Hermia agrees to run off with Lysander into the forest but naively conveys the information to Helena, a young maiden who longs for Demetrius.

She follows Demetrius into the forest to try and stop Hermia and Lysander but they come upon a group of fairies who have their own agenda, leading to a romantic farce of mistaken identities caused by the fairies magical potions. One of the subplots concerns a theatrical troupe of workers who offer a play within a play that bring the proceedings to a comic high. The cast is competent but uninspired with the possible exception of Helen Mirren as The Faerie Queen. Nicky Henson as Demetrius and Robert Lindsay as Lysander seem too old for the part of young lovers and speak their lines with a clunky earnestness that is all wrong for the mood. Phil Daniels plays Puck with a demonic grin, belying the characters' playful nature. All in all, work of nimble grace is turned into an often incomprehensible shouting match that makes one long for some of the magic fairies potion - to sleep, perchance to dream.