An erotic adventure only the dream or the magic of the theater can afford
Without modern day VFX techniques, with least of words, in this lush filmed version of his famous stage production of "A Midsummer Night's Dream", Lindsay Kemp & his company make this idyｌｌic fairy tale world believable simply through the physical expression. And eternally mischievous masterminded Lindsay (or Puck) tricks you as always into his eccentric world of the circus, commedia dell' arte, operetta, ballet and mime.
Kemp is a perfect match for Puck, a satyric clown, the movement of Oberon (Michael Matou) has a magical swiftness, cross-dressed Titania(blind Jack Birkett)'s presence is undeniable. But the most memorable achievement of this adaptation is in the incarnation of the changeling boy, who has no lines, merely a cited figure in the dispute between Oberon and Titania in Shakespeare's play. Lindsay makes the boy come to the forefront almost naked but with a wreath of flowers as an undeniably androgynous, remote resonance of "Le Spectre De La Rose" by Vaslav Nijinsky or "La Sylphide". Long necked François Testory（former Mudra student）played the role beautifully with Bejart dancer's grace and incredibly transparent countertenor voice accompanied with the illusionary music score of Carlos Miranda.
Lindsay (or Puck) has him cross the border of gender as of humans and fairies. So the midsummer night's forest inevitably becomes the place for the pan-sexual dreams to come out. The king can have his pretty page as his bed's companion, the queen makes it out with a beast, four young lovers become homosexual couples, or a gangly waify tinker, Snout(Testory double casted) can turn into this magnificent creature lusted after by every man and woman.
Thus Lindsay(or Puck) successfully reveals and revives the erotic undertone of the Shakespearian world. And he appropriately concludes, "If we shadows have offended, Think but this, and all is mended, That you have but slumber'd here While these visions did appear. And this weak and idle theme, No more yielding but a dream,"
If you wish to have some happiest sexual dream, just watch this film.
Kemp is a perfect match for Puck, a satyric clown, the movement of Oberon (Michael Matou) has a magical swiftness, cross-dressed Titania(blind Jack Birkett)'s presence is undeniable. But the most memorable achievement of this adaptation is in the incarnation of the changeling boy, who has no lines, merely a cited figure in the dispute between Oberon and Titania in Shakespeare's play. Lindsay makes the boy come to the forefront almost naked but with a wreath of flowers as an undeniably androgynous, remote resonance of "Le Spectre De La Rose" by Vaslav Nijinsky or "La Sylphide". Long necked François Testory（former Mudra student）played the role beautifully with Bejart dancer's grace and incredibly transparent countertenor voice accompanied with the illusionary music score of Carlos Miranda.
Lindsay (or Puck) has him cross the border of gender as of humans and fairies. So the midsummer night's forest inevitably becomes the place for the pan-sexual dreams to come out. The king can have his pretty page as his bed's companion, the queen makes it out with a beast, four young lovers become homosexual couples, or a gangly waify tinker, Snout(Testory double casted) can turn into this magnificent creature lusted after by every man and woman.
Thus Lindsay(or Puck) successfully reveals and revives the erotic undertone of the Shakespearian world. And he appropriately concludes, "If we shadows have offended, Think but this, and all is mended, That you have but slumber'd here While these visions did appear. And this weak and idle theme, No more yielding but a dream,"
If you wish to have some happiest sexual dream, just watch this film.
- Bilconty
- Nov 20, 2008