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Example 5

Director’snotebookStudentC(SLandHL)

AMIDSUMMERNIGHT’SDREAMByWilliamShakespeareItislargelyagreedthatShakespearewroteAMidsummerNight’sDream(oneofhis37plays)duringthe1590sinEngland.Shakespeare,whoiswidelyconsideredtobethegreatestwriterintheEnglishlanguage,tookinspirationfromawidevarietyofsourcesinwritingtheplay.Itisacomedywhichfollowstheinterlockingeventsandadventuresofamidsummernight.

• Theseus,theDukeofAthens,iscelebratinghismarriagetoHippolyta,QueenoftheAmazons

• Hermia,ayoungAthenianwoman,wantstomarryLysander,butherfatherwantshertomarryDemetrius,whoHelenaisinlovewith.Thefourescapetotheforestwithhopesofelopingorconvincingtheobjectoftheirdesirestofeelthesameway.

• Agroupofamateuractors,themechanicals,meetintheforesttoproduceastageplaywhichistobeperformedfortheDukeandDuchess.

• Oberon,theKingoftheFairies,andhisQueen,Titania,havemetintheforest.OberonwantsTitania’schangeling(afairythathassecretlyreplacedahumanchild)tobecomehisknight.SherefusesandOberonsendshisjester,Puck,topunishTitaniawithatrickthatwillshameherintosurrenderingthechildtohim.

(Sources: Harrison,GB:“AMidsummerNight’sDream:Notes”,1937.P29 http://en.wikipedia.org/wiki/A_Midsummer_Night's_Dream)

Example 5

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What follows is a series of mischievous andmagical tricks through which love istransformed,misplaced, deceived, revealed and,finally,restored. Puckendstheplaybysuggestingtotheaudiencethat what they have just experienced might benothingbutaDREAM(p.91). AMidsummerNight’sDream is awidelypopularShakespeare play and one that has beenperformed and adaptedmany times. The RoyalShakespeare Company, for example, has stagedwell over 15 versions of the play in Stratford‐upon‐Avon since 1920 (Rebecca Brown, RSC,2008). Each one of these productions was notablydifferent–mostfamouslytheproductionstagedby Peter Brook in 1970. “This production wasimmensely influential and approached withdeliberateradicalism–abrilliantlylitwhiteboxsetreplacedthetraditionalprettyforestandtheactor’sbrightskills…spinningplatesandflightson the trapezewere inspiredby theacrobatsoftheChinesecircus”(Brown,RSC,2008). I really like the ideaof transforming aplay likethis into something new, drawing out the keyideasoftheplayandpresentingtheseideasinanew way. As I explore the play further I willidentify those ideas that I feelwillmostengagetheaudience.Themainideasoftheplayare: LOVE and MARRIAGE: Theseus and Hippolytamarry.Theloversareconcernedwithwholoveswho and who will marry who. Oberon andTitaniaquarrel over the changelingboy.Titaniaexpresses her love for Bottom, who istransformedintoaDonkey ORDERandDISORDER:TheorderedworldoftheAtheniansandthedisorderedworldofthemagicalworld. MAGICandtheSUPERNATURAL:Magicisathreadthatrunsthroughtheplay,alongwiththesupernaturalelementsofthemythicandfairyworld.“There’sthemagicoflove,themagicofthemorningdew,andeventhemagicofpoetryandart”(Schmoop.com,2008). ThesethemesareallideasthatIaminterestedinexploringthroughthedirectionoftheplay.MagicandthesupernaturalareideasthatIfindparticularlyexciting,drawingoutthe‘dream’oftheplay,contrastingtheorderedworldoftheAtheniansandthevibrantandunrulyworldofthemagicalwoodlandenvironment–aperfectsettingfortheconfusionsofloveandtheunfoldingcomedyofthemechanicals’rehearsal. Overthenext fewpagesIwillexploretheplaytextandhowIwouldattempttoconstruct theworldof theplayasadirectorandco‐ordinateperformanceandproductionelementstodevelopmyfinaldirectorialintentions.

Theatre teacher support material 3

Example 5

InfluencesfromlivetheatreWhileresearchingthisplayIhavefounditusefultoreflectonotherliveperformanceIhavewitnessedasaspectator,andacoupleofthesehavebeenparticularlyhelpfulinstimulatingmyartisticresponse.TheproductionthathasbeenmostinfluentialisaprofessionalproductionofCSLewis’“TheLion,theWitchandtheWardrobe”stagedattheWestYorkshirePlayhousebytheBirminghamRepertoryTheatre.Thisproduction,dramatizedbyAdrianMitchell,verycleverlyandcreativelycontrastedtheaustereandbleakenvironmentofwar‐tornEnglandwiththemagicalandenchantingworldofNarnia,whichtheleadcharacteroftheplayLucy,discoversasaresultofhidinginawardrobe.ThisfantasticcontrastofworldslinksverywelltoAMidsummerNight’sDream,wherethelovers(Hermia,Demetrius,HelenaandLysander)leavethestructuredandorderedworldofAthenscollideswiththemagicworldoffairiesandsprites.InmyproductionIwouldwantthisjuxtapositionof2contrastingworldstobeverystriking.

Thecreationoftheenvironmentoftheplayisextremelyimportanttomyintentionsforthisproduction.Formyaudiencetofeelthattheyhavetrulywitnesseda‘dream’,IwantthemtobeplungedintomagicalwoodlandworldinthesamewaythattheAtheniansare.Sightandsoundarevitaltothis.

Thewar‐tornEnglandthatwasdepictedintheproductionof“TheLion,theWitchandtheWardrobe”usedsparse,simple,almost

Example 5

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sterilestagesetstoshowthepovertyanduninspiringlifethatfacesthefamilyofchildren.WhenLucysteppedintothewardrobeatthecrucialmoment,thelightsfadedandclosedaroundLucyasshepushedfurcoatsaside–atthetransitionmomentthewardrobeslowlyrevolvedandinthesurroundingdarkness,enormousfurcoats,theheightofthestagewereflownintoposition.AsLucyslowlyemergedonthestage,thelightsslowlybrightenedtorevealthejaw‐droppingscaleoftheset.Snowbegantofall,andforthefirsttimeavividbluecycloramawaslittocompletethescene.Thisleapfrom‘reality’intothesurrealissomethingIamparticularlyexcitedaboutwiththisplay.

Theenormouscoatswerecolouredwhiteatthetop,graduallybecomingdarkernearthe

bottom.Thesurrealeffectofthesecoatsmakingaforestwasincredible.

Anotherhighlyinfluentialaspectofthisproductionwouldcertainlybethecreationofanensembleofactorsperformingtherolesoftheanimals,particularlythoseinthecompanyoftheWhiteWitch(playedbyMoyoAkande).Thewitch’ssecretpoliceisateamofblood‐hungrywolves,captainedbyMaugrin(OwenYoung).Theensembleofwolveswereportrayedasstealthy,alert,fearless,cunningkillers,andusedtheirbodiestocommunicatethesetraitsatalltimes.Everymuscleintheirbodiesappearedcommittedtotheirperformance,keepingtheirbodieslowtothegroup,theirlegspowerfullypropellingthemwhenalarmed,theirarmsandhandsdexterouslyguidingthemandgrabbing,clawingandlungingattheirprey.Thecostumesforthesecharactersweresurprisinglysubtle,suggestingawolf’scoatbyusingabodystockingwithprintedpatternson,andblendingthiswitheffectivemake‐uptodisguisewherethebodystockingstartsandends.Theircharacterizationdidmostoftheworkforthem,however,andtheireyeswerealarminglywide,alertandintense.Thepackofwolveshadverylittlescripteddialogue.(otherthanMaugrinandhislieutenant),buttheirpresenceandcommitmenttotheirrolesdominatedthestageandgavethewhitewitchfarmorepowerandpresencethanifshewasaloneonthestage.Thissenseofanintimidating,watchfulandevenalertensembleofperformerscertainlyconjuresasenseofmagicandmischiefinmymind,andIwouldcertainlylooktoemployasmallensembleofdynamicandflexibleyoungactorstoformmyfairyensembleinAMidsummerNight’sDream.Anensembleofagileandalmostacrobaticsprites,everwatchfuloftheunfoldingdrama,movinginandoutoftheaudiencespaceandleapingabovethestagewouldcertainlyaddtomymagicalwoodlandenvironment,particularlyiftheseactorsweredirectedtomovebeyondthestereotypicalviewoffairies(wingsandleggings)andbegintoexplorethemoresinister,darkandsupernaturalpresenceofthesebeings.(Sources:http://www.Birmingham‐reop.co.ok/event/the‐lion‐the‐witch‐and‐the‐wardrobe)

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Example 5

Anotherproductionthathascontributedtomydevelopingideasforstagingthisplayis‘TheImportanceofBeingEarnest’byOscarWilde,whichwasstagedatmyschool.Thisplay,writtenin1895,isafarcicalcomedywhichexploresthesocialobligationsofpeopleintheVictorianera.WhatIlikedaboutthisperformancewastherepresentationofwealthy,uppermiddleclasspeoplewhoarerestrictedbytheexpectationsofthesocietytheybelongto.Thewaythisiscommunicatedintheplay,throughpreciseandcontrolledmovements,immaculateelocution,gesturesandcostumeallappealedtomeasapotentialcontrasttothedark,unrulywoodland,whereanythingcanhappen,andwherethetransformationoftheloverstakeplace.TosettheAtheniansinanuptightandorderedsocietysuchasthiswouldthenillustratethecontrastbetweenthesetwoworldsevenmoreeffectivelyforamodernaudience.Icertainlywouldn’twantmyproductiontorelyontheverytraditionalandformalstyleofShakespeareanproductions,withtraditionalcostumesandelaboratesetpieces(whichbecameparticularlypopularduringthe1800s).(Source:“doubletandnose”,http://www.shakeyourspeare.blogspot.com)Itistheclashoftwoverydifferentworldsthathascapturedmyimaginationwiththisplay,andthefurtherapartIcancrediblymaketheworldoftherealandtheworldofthe“magic”thebetter!Formy‘real’world(theAthenians)Iwanttoplacethemintheveryrecognisableworldofthe1920s,alittlelaterthan‘TheImportanceofBeingEarnest’isset,butatimethatismoreeasilycommunicatedbythestyleofcostumeandset,especiallywiththeArtDecomovementthatissostrikingandformulaic,butalsowhentheworldwasalmostrediscoveringitselfafterworldwarIandfindingitselfalittlelost…(Sources:http://www.1920‐30.com,www.bbc.com/schools/gcsebitesize/history/mwh/usa/1920revision)

Example 5

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Creatingthetwoworlds

TheReal world(1920’s)Upperclass: Theseus HippolytaUppermiddleclass: Philostrate Egeus Hermia Helena Lysander DemetriusWorkingclass: PeterQuince NickBottom FrancisFlute RobinStarveling TomSnout Snug

TheMagicalwoodlandworld(supernatural)Mostpowerful: Oberon TitaniaMagicalPowers:

RobinGoodfellows/ Puck Peaseblossom Cobweb Moth MustardSeed TheFairiesThisgroupwillcertainlyfeatureasthecoreofmyintentionsfortheaudience,creatingthissupernaturalworld

Ordered Blackandwhite Strong,formal Clearhierarchy Theupperandlowerclassesnevermixsocially

Clean,routined Wellbehaved

Therealworldisstrippedoforder,formalityandgoodbehaviorwhenitmixeswiththemagicalwoodlandworld!

Mixedwithnature Highlysexual Potions,spells Mothernaturerules

Mischievous Raw,informal,unruly

Allworktogether Seasonsdictate

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Example 5

Myconceptanddevelopingmyideas

TheAtheniansTheseus,Hippolyta,Philostrate,Egeus,Hermia,Helena,Lysander,Demetrius.IwouldchoosetosettheAtheniansinthegoldenageofthe1920s,whenthewestwasfacingeconomicboomfollowingtheendofworldwarI.ThegrandandnobleworldoftheAthenians(whichincludesthelovers)wouldbecommunicatedbysemi‐formal,modernist,fashion‐simplelinesandminimaladornment,createdwithexpensivefabrics.The1920ssawaboominpopularculture,andawidespreadappreciationoffilm,music,literature,artandtheatre,andIthinkmyconceptwouldjustifytheuseofthemechanicalstoprovideentertainmentattheDuke’swedding.Thiseralendsitselfwelltothestructuredandwell‐manneredsocietytowhichtheAtheniansbelong,butalsoallowsroomfortheslapstickandmelodramaticbusinessbetweentheloverstotakeshape.Idon’tthinkthatremovingtheactionfromrecognisableAthensinGreecewillhaveanotabledetrimentaleffectonmyproduction.

Example 5

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TheFairiesForthewoodlandscenes,Iwantthefairiestocommunicatethelivingandbreathingworldoftheforest;agile,alert,intenseandwild.Byincreasingtheeerie,supernaturalelementsofthefairies,Ibelievethewoodlandbecomesamoresinister,unsettlinganddangerousplace,andmakesaveryintensecontrasttotheflat,blackandwhiteworldoftheAthenians.Iwantthefairiestospilloutintotheaudience,forthefairyworldtobeever‐present,watching,listeningandwhispering.Thefairieswouldbeaverytightensembleofperformers,highlyphysical,movingaroundthestagespacewiththequick,lightanddynamicmovementofacrobatsordancers.Theywouldappeartobealivingandbreathingforestthemselves,onlyscrapsofmaterialclothingbeingworn,withtheirbarefleshmarkedwithbark,dirt,leavesorstrangemysteriousdesigns.Thestylingoftheirhair,costumeandmake‐upwouldfallveryspecificallybetweenextremelystylizedandcompletelyferal‐thisgrouphasclearlyinhabitedtheforestworldformillennia,completelyisolatedfromhumancontact.Theyhaveanunnervingalertnessaboutthematalltimes,twitchingandstaringalmostlikewildbirds.OberonandTitaniaaremarkedbytheirdevelopmentabovetheensemble,lesswildintheirbehaviour,butmorepowerful,commandingandbewitching.Theyareintenselyprovocativeandhaveanelectricitybetweenthemwhichsendspulsesthroughthewoodlandworld. TheFairies

Mydesignteamwouldexperiment

witheyemake‐uptolinktheforesttheme.

Contactlenseswouldenhancethesupernaturalelement.

Ivywouldbeastrongtheme‐alwaysgrowing,wrappingitselfaroundeachoftheensemble.

Bodystockingwithsewnonforestadornments.

Avoidtheuseof‘wings’‐notraditionalfairycostumes.Theliving,breathingandseeingforest.

BodyArtIdeas

PossibleideasforOberon: Bodyart‐roots,branchesor

veins? Bodyshapefurtherdefinedto

showstrengthandpower Barefleshexposedtoenhance

thesenseofwoodlanddweller Costumetosuggest‘regal’or

‘emperor’.Sources

http://www.europeanbodyart.com/body‐painting/

http://body‐paint‐body‐art.blogspot.com

http://www.ekmpowershop27.com Collins&Nisbet,2010.P78.

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Example 5

RoughcostumeideastoinspirethedesignerTheAthenians Demetrius–Sonofaristocrats,favouredbytheDuke.IwoulddresshimformallyandechoasimilarstyleoftheDuke.

Lysander–ahandsomeyoungmanofAthens.Heisinlovewiththefeisty(andinmyviewmorefashionable)Hermia.IwouldmakehiscostumemorecasualthanDemetrius.

Theseus–TheDuke

Helena–IwouldprobablyaimforfurstobewornbyHelena,whoIfeellikestogivetheimpressionsheismoreclassyandelegantthanHermia.

Hermia–MuchshorterthanHelena,butfeisty.Iwouldaimforhertoappearmore‘fashionable’.

Iwoulddullallofthecoloursatthestartoftheplay–blacks,whitesandshadesofgreySilentmovieidea.Sources Altman,B&Co:“1920’sfashion”,1999.

Example 5

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RoughcostumeideastoinspirethedesignerWorking‐classamateuractorsContrastingshapesandsizestomakethemevenmorecomical. Bottom–theweaver:Shabbyhat.Dirtyshirtandapron.Ahighlycomicalcharacter,loudandoutspoken.Transformed:he’sgiventheheadofadonkey.

Snug–thejoiner:Bluebutton‐upover‐shirt.

TheMechanicalsEachcharacterwouldhaveonesamplepropofthe1920seratoindicatetheirprofession. TomSnout–tinker:Bluedungareesanddirtyunder‐shirt.

FrancisFlute–Bellowsmender:“Granddad”styleshirt.

The1920sstyleoftheAtheniansisechoedbythemechanicals,butthedifferenceintheirsocialstandingisindicatedbythe1920s‘worker’costumes–frayedanddirty‐thecostumesaresimpleandhard‐wearingSources: Altman,B&Co:“1920’sfashion”,1999.

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Example 5

Fleshingoutmyideas Thedesignfortheactualset

wouldbecreatedbyadesigner,butmyvisionasadirectorisreliantontheenvironment.Theseideaswouldinfluencethefinaldesignsignificantly.

TherealworldoftheAthenian Themagicalwoodlandworld Thefairyensemblemovein

andoutoftheaudiencespace. Thecentralspacewherethe

twoworldscollide! Woodlandworld Theprosceniumarch

representsaninvisiblewallbetweenrealityandthesupernaturalkingdom.

Iwanttoseethefairyworldoperatingonnumerouslevels,tohavethefairies(especiallyTitaniaandOberon)lookingdownontheworldbelowLevelswouldalsoallowthesupernaturalensembletoclimb,leapandswingfromthe“forest”Creatingtheforest

Scaffoldtower Coveredwithhardboardand

material Painted,texturedand

decorated.

MyproposedsetdesignThestarkblackandwhitestageprovidesa“cinemascreen”inwhichtherealworldexists.

Centralplatform Thesolidwhitecycloramacanbelitwithtexturedgobostoenhancethesupernaturalscenes. Stagepaintedblack. Thethruststageprovidesaplatformonwhichtherealandthesupernaturalworldscollide. Audiencearesurroundedbythesupernaturalworld.

Theprosceniumarchiscoveredbyscaffoldingwhichcreateslevels,platforms,ladders,ropesandlook‐outsfortheinhabitantsofthefairyworld.Thisstructureisthencoveredwithatexturedlayeronwhichtheforestispainted,sculptedandcreated.Swathesofmaterial,nettingandgauzeareusedtocreatearealisticcanopyofleavesandtendrils,throughwhichtheever‐presentfairyensemblepeerdownatthecomingsandgoingsofthe‘real’world.Thescaffoldplatformscreateaplaygroundforthemischievousfairiestoswing,climb,chaseandleap.Twinklingfairylightsarehiddeninthetreesandarelitastheaudienceenters.

Example 5

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Thestarkwhiteofthecycloramawouldprovidea“moviescreen”,symbolisingtheworldoftheAthenians.TheblackandwhiteworldoftheAthenians,asglamorousasthe1920smoviestars,areatfirst2dimensional,farremovedfromtheraw,wildandunrestrainedsupernaturalwoodlandworldofthefairies.Astheloversleavetheglamourandstructureoftheir1920smovieworld,venturingintothedarkandmysteriouswoodland,theyfindtheirworldscolliding,andthechaosthatfollowsgraduallypeelsawaytheglamourandformalityoftheirnativelandandinducesraw,wildandunrestrainedbehaviour.Iwouldalsocommunicatethisprocessthroughcostume,action,useofvoicesandcharacterisation.Thiswouldtakeplaceontherailedthrustplatformaroundwhichtheaudienceareseated,immersedand,attimes,implicatedintheunfoldingmadness!Themechanicalswouldbepresentedasworkingclasstradesmenwhohavegottogethertoprepareandrehearsefortheirproductionof‘themostlamentablecomedyandmostcrueldeathofPyramusandThisbe’.ThecomicelementofthesecharactersissomethingelseIwouldwanttobringoutwiththesescenes(whichthescriptalreadydoesquitebrilliantly).Iwouldhopetocastsomeactorswithagoodabilityforclowningandphysicalcomedy.Thegroupwouldbeanassortmentofshapesandsizes,andthisoddmixtureofunlikelyactorswouldaddtothecomedygreatly!ThecostumesforeachgroupwouldcertainlyhelpincommunicatingthecharactersandintoevokingtheeraandenvironmentsIhaveidentifiedformyintentions…

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Example 5

HowIwoulddirecttheplaytocreateanimpactMomentone‐theopeningAlthoughnotspecificallyreferencedinthescript,Iwouldchoosetoopenmyproductionwithashortprologuetoestablishthesupernaturalworld,ever‐presentthroughouttheentireplay,and(inmyproductionatleast)everwatchfulofthe“real”world.Iwouldwantthefairyensembletoarrivethroughtheauditoriumandinvadetheaudience’sspace.Asthehouse‐lightsdim,Iwouldwantlights,concealedinthebranchesoftrees(constructedaroundandoverthetopoftheprosceniumarch)tobegintwinklingbrightly,asathickfogofdryicemakesitswayfromtherearoftheauditoriumtothestage,adeep,sustainedandboomingrumblebeginstoshakethewallsofthetheatre.Ominous,mysteriousandeerilymelodicmusicbeginstobuildastheensembleoffairiesmovesthroughtheaisles,twitching,eyesfixedonthemembersoftheaudience,theyarealertanddynamicintheirhighlyphysicalandanimal‐likemovements.The“trees”eithersideoftheprosceniumarchbecomebrighter,litfromunderneathwithvibrantgreen,whiteandyellowlighting.

Stage Platformoverthestage/prosceniumarch

Lightsilluminatethetrees,upwhichtheensembleclimb.

Smokebillowsin,followedbytheensemble.

Thevividandenchantingtreessparkleabovetheaudience,astheensemble,carefullychoreographed,whisperingandgigglingandbehavingmischievously,begintoclimbthetreesandexploretheirhomes.

Example 5

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Puck,themostnimbleandspritelyoftheensemble,climbstothetopofthetrees,andontoaplatform,whichtravelsacrossthetopoftheprosceniumarch,throughthebranchesandcanopy,tosettleinthecentre,lookingdowntheemptystagebelow.Therestoftheensemblemakethemselvesconfortableonbranches,ledgesandropes,andleanout,transfixedontheemptystage,wherethefirstsceneoftheplayisabouttobegin.Themusicslowlyfades,asthelightingontreesdims,leavingonlythetwinklinglightslikestarsinthecanopyabove.Thisatmosphereandenchantingopeningtotheplayshouldhopefullysetthemoodforallthatfollows,providingtheaudiencewithaconstantfeelingofunease,withfaceslookingoutofthebranchesandengagethemallinwhathappens.Ibelievethiswouldhaveanimpact.Momenttwo‐Actthree,SceneoneAsTitaniasleepsonabedofflowers,thecraftsmenmeetinanearbygrovetobeginrehearsingfortheirplay.Astheybegintheirrehearsal(followingsomedifficultiesincastingtheroles)Pucksneaksuponthem.Heisdelightedtohavesomanyfoolstoentertainhim.Hedecidestowatchandparticipateinthefun.It’sclearthatthemechanicals’playisgoingtobeadisaster,andwhenBottomstepsoutofthescene,PucktransformsBottom’sheadintothatofanass.Whentheass‐headedBottomre‐entersthescene,thecraftsmenarehorrified:Quince:Omonstrous!Ostrange!Wearehaunted.Praymasters,flymasters,help!(Shakespeare,W:“AMidsummerNight’sDream”,p.49)Theyrunfortheirlives,anddelightinginthemischief,Puckchasesafterthem.Bottom,perplexed,remainsbehind.IndirectingthissceneIwouldwanttheaudiencetoenjoythecomedyofthemechanicalsandtowitnessthemischiefofPuckandhisensembleandtheywitnessthemagicaltransformationofBottomintoahalf‐donkey.Thisshortsequenceisprobablythemostwellrememberedpartoftheplayandoneinwhichtimingandcomicreactionareessential.AsQuince,SnoutandBottomdiscussthecomplicationsofcreatingmoonshineandawallintheirproduction,Iwouldhavetheactorsstoodontheraisedthrustplatform.Asthe‘director’ofthePyramusandThisbeplay,PeterQuincewouldbesatupstageonhisshort,woodendirectingstool(whichhecarriesonwithhim).Starveling,thetailor,wouldbesatdownstageright,withhislegsdanglingoverthesideofthestage,ashesewsasimpleitemofcostumefortheperformance.Flute,thebellowsmender,wouldbesatonthefloorup‐stagecentre,nexttoPeterQuince.Flutewouldbedirectedtocarryanaccordion,whichheplayseverytimethemechanicalswanderthroughtheforesttosetuptheirrehearsal.Snoutwouldbesatstage‐left,atthetopofthesetofstepsleadingdownintotheaudience.Snugwouldbedirectedtostandup‐stageleft,wherehechewsonsomeunknownsubstancewithhismouthopenashedoesformanyofhisscenes.Bottom,ofcourse,wouldbecentrestage,gesturingenthusiasticallytoeachofhisfellowcraftsmeninturn.

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Example 5

Snout:Doththemoonshinethatnightweplayourplay? (p.47)AsSnoutdeliversthisline,thefairyensemble,whohavebeensilentlywatchingtherehearsalfromupintheirbranches,begintocometolifealittle,andleanforwardwithinterestandamusement.AsQuincesettlestheactorsdownreadytobegintherehearsal,thestagelefttreeandbrancheslightupalittleasPuckappearsatthelowerplatforminthetree.Puck:Whathempenhome‐spunshaveweswaggeringhere…Delightedtoseethecomicalgroup,Puckspringslightlydownthetreestructure,eagerlypursuedbymembersofthefairyensemble,equallyasenthralledandamused.Bottom:Buthark,avoice!Staythoubuthereawhile,AndbyandbyIwilltotheeappear(Shakespeare,“AMidsummerNight’sDream”,p.49)AsBottomdelivershisline(AsPyramus),hecrossesstageleftandtrotsdownthefewstepsintotheaudience,tosithimselfatthebaseofthestagelefttreeofthestructure.AsQuinceandFlute(asThisby)carryontheirdiscussionaboutthecorrectuseoflanguage,Puck,havinggiggledhisline:“AstrangerPyramus,thane’erplayedhere”,skipsaroundtheseatedBottom.AtPuck’scommand,thefairyensemble,whisperingamongstthemselves,wouldpullaswatheofmaterial(suggestingaleafyvineorcurtainoffoliage).PuckwhispersandgesturestowardstheimmobilisedBottom,whilebehindthefoliageveil,thefairyensemblewouldswiftlydressBottominhisdonkey‐transformationcostume…

Example 5

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Bottomwouldbedressedinahatwithassearsattachedandhishandsslippedintoadaptedglovestorepresentdonkeyhooves.TheensemblewouldswiftlyrevealBottomfromthebehindthematerialandpullthedazedandconfused(andblissfullyunaware)BottomtohisfeetandpushhimtowardsPuck,whowouldleadtheactorbackontostageintimeforhisline:Bottom(AsPryamus):IfIwerefair,Thisby,Iwereonlythine.

Costumeideas Bottom’stransformationintoanass

Oversizedearsattachedtohat

Gloveswithhooves IwoulddirectBottomtousecomicperformanceskills(exaggeratedphysicalandvocalelements)tocompletethetransformation.

AsQuincecriesouthis“Omonstrous!”line,theotheractorsreactwithhorror,runningaroundthestage,confused,terrifiedandbumpingintoeachother.Theycollecttheirbelongingsanddiveoffthestagescatteredinalldirections.AsPuckdelivershis“I’llfollowyou”lines,achingwithlaughteranddelight,heleapsafterthemcausingfurtherchaosandfearashechasesthem.Ibelievetheimpactofthistransformationwouldengagetheaudiencethroughcomedyandsuccessfullyreinforcethesenseofthemagicalworldinwhichtheentirecastfindthemselves.

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Example 5

MydirectorialintentionsandintendedimpactforanaudienceIwouldaimtocreateavividandmagicalproductionofAMidsummerNight’sDream,challengingaudiencepreconceptionsandhopingtoconjureamemorableandengaging‘dream’.Intransformingmyproductionforthestage,designelementsunderpinalloftheaction,andcontributetoimmersingtheaudienceintheenvironment,inthesamewaythattheAtheniansfindthemselvesplungedintoasurrealandsupernaturalworld.Set,costume,lightingandsoundwouldbeessentialinmyproduction,supportingmyintentionofengagingandmovingtheaudience,playingontheirreactionstocomedy,excitementandwonder,makingthemfeelunsettledthroughtheuseofskilledandcommittedperformers.Byestablishingthe‘real’worldoftheAtheniansasastructured,orderedandcontrolled1920sworld,theaudiencewillfeelevenmoreunnervedandunsettledasthecastoffairyworldcharacters,workingtogetherasawatchful,alertandmischievousensemble,leapingthroughthelushandwonderoustreestructuresandcanopy.AstheaudiencewitnessthedevelopingstoryandcomicandconfusingeventsIwantthemtofeelevenmoreimmersedinthestoryandmoreengagedandresponsive.Ibelievethatmyideasforthestagingofthisproduction,thecreationofanimmersivedream,mydirectionofacommittedandskillfulcastofactorsandmyblendingofproductionelementswouldcontributetotheeffectivestagingofthischarmingandtimelessplaytext.