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Me I can’t remember the last time I played in a theater but director Emily Lim’s delightful take on A Midsummer Night’s Dream almost blew me away. It’s generous, creative and smart, always with an eye to making the audience feel included. With extravagant costumes (concept by Fly Davis), a group that blossoms spontaneously from artist Aldo Vázquez, soulful music by Jim Fortune and brilliant comic performances, this is a rare item: A dream that the whole family can enjoy. Just cover the children’s eyes because of the small pieces.
The Globe is the perfect venue for Lim who has spent a lot of time performing with the group, particularly in the National Theatre’s Public Acts. What happens to the audience is not a fun addition here but an important part of the show. In fact, we’re so integrated into the action that at the end, one excited audience member – as part of a running gag – joins Puck on stage in a hand-waving ceremony to spontaneously cheer around.
None of these interactions would be possible without Michael Grady-Hall’s inspiration for Puck. More of a joker than a storyteller, he spends most of his time playing with the crowd, promoting a good time and blowing everyone away with bubbles. As Bottom, a flamboyant am-dram actor who transforms into a flamboyant ass, Adrian Richards has a wry sense of humor embedded in every move, from the way he shifts his hips to the way he wags his tongue.
A few aspects are ignored. This strange love story has little impact – although it is nice to see, in Romaya Weaver’s fiery performance, Helena with spunk. The standard music game doesn’t always work and Audrey Brisson, a talented singer, tries hard to keep her sense of mystery and magic as the Fairy Queen. But all is forgiven in a show that’s more concerned with dispelling any concerns the audience may have about understanding Shakespeare – and just showing them a good time.
