Gregory Doran’s RSC production (2005) By Rachel Meldrum

Theseus - Miles Richardson
 Hippolyta - Brigitta Roy The production opens with a duel between two warriors. They take their masks off to reveal themselves as Theseus and Hippolyta who announce that they will be married in four days time. This is the first of many references in the play to the moon. In this production, their marriage is a marriage of equals - Hippolyta is marrying Theseus of her own free will.

Hermia - Sinead Keenan Theseus - Miles Richardson
 Lysander - Trystan Gravelle (left) Egeus - Tom Hodgkins (right)

Demetrius reacts angrily to Helena who has chased him into the forest Demetrius reacts angrily to Helena who has chased him into the forest. Oberon is invisible to them. Oberon - Joe Dixon (left) Helena - Caitlin Mottram Demetrius - Oscar Pearce (right)

Act 2, Scene 3The lovers fight in the forest

All the mechanicals sport Brummie accents, with Malcolm Storry a glorious, irksome Bottom and Paul Chahidi a laidback Quince who turns almost into a superhero during the Pyramus and Thisbe routine. Bottom - Malcolm Storry Snout - David Rogers Snug - Edward Clayton

Thisbe/Flute - Jamie Ballard
 Wall/Snout - David Rogers
 Pyramus/Bottom - Malcolm Storry

Videos from this production Videos of: The last scene Interview with Gregory Doran on who’s who and how he makes each lover distinct Interview with Gregory Doran on comedy vs tragedy Interviews about the fairy world Interviews on the final scene: Gregory Doran about how the forest changed them Demetrius about how it was a dream Demetrius about the ending About Theseus

Reviews “Gregory Doran, a director who pushes the boat out but never gets out of his depth.” “This version of A Midsummer Night's Dream is clever, well-presented and highly enjoyable, although it doesn't quite make it into the "unmissable" category” – British Theatre Guide, Steve Orme “But for once I'd also like to mention some of the minor roles. Ryan Gage is extraordinary as Francis Flute, the bellows mender, a skinny, nervously grinning youth who suddenly discovers a radiant self-confidence in his female role as Thisbe, and unexpectedly makes the otherwise farcical performance by the mechanicals genuinely moving.” – The Telegraph, Charles Spencer “It made me realise that puppetry presented pitfalls to the overzealous director; I thought the idea of Titania's changeling child as a puppet lovingly manipulated by fairies had merit, but in practice it failed to come off and looked a bit gimmicky.” – The Guardian, Lyn Gardener

Staging Gregory Doran's production was presided over by an enormous full moon which travelled across the stage during the show, exerting its influence over mortal and immortal alike. The modern-dress production began with a sword-fight between two warriors who revealed themselves to be a sparring Theseus and Hippolyta. Sinister fairies attended on Oberon and Titania while the Changeling Boy, the cause of their quarrel, was represented by a life-sized Bunraku puppet. Stephen Brimson-Lewis's forest set featured a giant U-shaped junk-heap and Bottom was wheeled around in a discarded supermarket trolley.

“A great mirror at the back of the stage reflects the audience themselves so that we seem to be simultaneously in the theatre and in the world of the play itself.” – The Guardian

“It makes a suitable framework for a production that is full of energy, invention and charm, but has yet to achieve transcendence.” – The Guardian, Michael Billington Oberon squeezes the juice of a flower onto Titania's eyes as she sleeps in her bower. “This simple set allowed for spectacular lighting to create environments: an overhead spherical moon moved gradually downstage throughout the first half, casting shadows of different shapes on the back wall as the night progressed.” – Peter Kirwan

Summary Mirror reflecting the audience Opening sword battle between Hippolyta and Theseus Modern dress Brummie accents for the mechanicals