A Midsummer Night's Dream

I would have liked to have seen this production on the stage without the introduction of a boy whose ambiguous presence is supposed to give the production its "dream-"like quality. I'm afraid, as the other reviewers here have noted, a well-intended and, for the most part, well acted version of one of the Bard's best known and most loved romps, alas, fall flat. The RSC is great but I found the presentation of Alex Jennings in the double role of Theseus and Oberon to be unconvincing. His facial expressions reminded me of one who's stepped out of the loo remarking about the lack of potty-paper. Lindsay Duncan, is lovely and fun in her double role as is the feckless Bottom given in fun by Desmond Barrit. Finbar Lynch's Puck has a darkness not often seen in other presentations but it works. My only quibble besides Mr. Jennings perpetual sneer and the wandering (as another reviewer here noted, a Macaulay Culkin look-alike) kid, is the flatness of the effects-- which I'm sure, worked wonderfully on the stage. Cross-overs into other media can be tough. All in all, an earnest albeit not wholly satisfying effort as earlier versions or the one two years later.

This is a fantastic play.With the exception of Daniel Evans, who's strong Welsh accent becomes grating when reciting Shakespeare, so were the players.Congrats to RSC on keeping the original idea of each actor playing two characters.They could've easily gone the easy route.However, you lose all that in the presentation.The bright colors and bizarre props( bubbles,bicycles,umbrellas etc)distract from the actors.The whole thing has a very sixties acid trip vibe. Thumbs up for Barry Lynch. He made an excellent Puck.And Philostrate. I recommend the version with Stanley Tucci over this one, however. now they're saying I need at least ten lines which I thought I had but o well, I'll try to fix it.

The little boy in the movie has read William Shakespeare's A Midsummer's Night Dream. Like the title, he has a dream where he goes to different worlds and sees them act out the comedy. While it can get confusing, I prefer this film version because the little boy can be the audience. Not everybody who is going to see it is going to relate to the film. Shakespeare's Comedy is fantasy as well with fairies and an underworld all on its own. The boy may not grasp the language neither can most of the audience. But he does see what going on. Just like a title, it is his dream. Dreams can have fairies and be weird on its own. I like the fact that the director tried to do something different. After watching other versions, I like this quirky film for its pure hearted attempt to get people involved in Shakespeare. Like our dreams, they don't make sense a lot of the time. The acting here is average. You can't compare these actors to the other versions. They are not as seasoned as them but that's not the point. The Royal Shakespeare Company should be commended and applauded for taking a daring chance at bringing this play to a mainstream audience. If you want the old fashioned film, watch the 1968 version with Dame Diana Rigg, Dame Judi Dench, and Dame Helen Mirren. If you don't want that, you will enjoy and open your mind to Shakespeare's play without the bloodshed of his tragedies. By the way, since I am going to become an English teacher. I like this version because of the little boy.

This film makes the title literal by adding a Little Nemo character dreaming it all. There are a couple of allusions to Alice in Wonderland, as well. It's a cute idea and leads us to see the characters as if through the boy's eyes but he comes to get in the way after a bit. Many of the actors are double cast so that we're led to see one story in the light of another. The film is playful and inventive in its magical use of prosaic settings and objects. The mood sometimes reminded me of "Dr. Who". There's hardly a scene without a visual surprise. The fairies are rather sinister and erotic; some of the stage business is unusually bawdy--too much so to fit with the conceit of the child's dreaming it all. Bottom and the rustics are funnier than usual, but overall this isn't a primarily comic "Dream". But it is an imaginative and poetic one.

The Royal Shakespeare version of "A Midsummer Night's Dream" is highly conceptual; in fact it is quite abstract. However, as an English teacher I prefer this version over the Michelle Pfeiffer/Calista Flockhart/Rupert Everett version; mainly because it does not mess with Shakespeare's text. My students have watched both versions as they studied "Midsummer..." (although it should be noted at this point that this version is a bit naughty...the Royal Shakespeare Company brings out that quality which is found in Shakespeare's comedies). During the viewing I suggested that they tried to follow along in their texts. We quickly found that the latest film version rearranges chunks of text freely (for example part of Helena's last speech in Act I: Scene I occurs after Act I: Scene II where the rustics are introduced). I did not find this interpretation disappointing at all. One must remember that it is based on a stage production. Perhaps the fact that I hold a degree in Theatre is the reason I found it so enjoyable. I agree that the adding of the boy is a nice touch for the film; however, it did confuse some of my students. This version provides a nice contrast to some of the other versions.