1. 2013 Globe Production of A Midsummer Night’s Dream

2. Cast and Crew: CREATIVES Directed by: Dominic Dromgoole
Designed by: Jonathan Fensom
Composed by: Claire van Kampen
The Mechanicals:
Bottom – Pearce Quigley
Peter Qunice – Fergal McElherron
Snout – Tom Lawrence
Starveling – Huss Garbiya
Flute – Christopher Logan
Snug – Edward Peel
The Nobles:
Theseus – John Light
Hippolyta– Michelle Terry
Egeus – Edward Peel
Lovers:
Helena – Sarah MacRae
Demetruis – Joshua Silver Hermia – Olivia Ross
Lysander – Luke Thompson
The Fairies:
Oberon – John Light
Titania – Michelle Terry
Puck – Matthew Tennyson
Fairy – Molly Logan
Fairy – Tala Gouveia

3. The Globe uses Thrust style staging – this is in order to create a greater intimacy between actors and audience.

4. Lysander and Hermia
The fours lovers in the midst of their quarrel

5. The Mechanicals: (Bottom is on the far left)
The play of Pyramus and Thisbe

6. Puck and Oberon
Oberon and Titania
Bottom and Titania

7. Titania and the fairies – their costumes consisted of animal tails/furs, woodland colours and animal masks. This caused the fairies to have a wild, dark look about them.

8. Reviews:
Charles Spencer, The Telegraph: “Dominic Dromgoole’s lively affectionate and consistently inventive staging beautifully captures both the humour and the disconcerting strangeness of the play.” “There is emotional depth as well as humour in this production. John Light’s commanding and highly physical Oberon, who is constantly shinning up the pillars of the Globe’s stage on ropes, suggests real shame when he sees his beloved doting on an ass.” Alexandra Coghlan, The Arts Desk: “The big draws here is Michelle Terry’s Titania/Hippolyta. In Dromgoole’s reading we are reminded that this is more than a passive royal consort, that Hippolyta is in fact Queen of the Amazons.” “Terry makes for an imperious, haughty queen, but is rather more appealing as the girlish-wild Titania, scrapping and flirting with her Oberon. Light by contrast feels more at home as the rigid Theseus, never quite releasing into the savage hedonism of a fairy king who clasps Puck in a lingering embrace and howls animal-like in his rage.” “There’s a quiet insistence on anarchy through the production, and while Bottom’s comedic dangers are harmless enough Dromgoole’s fairy world is altogether more ferocious. Undercurrents of (homo)sexual desire flood into the foreground, while the spirits themselves become a hooting, shrieking pack of unearthly hooligans.” “Few play teenage boys as well as Tennyson (as he proved so thoroughly in the Donmar’s Making Noise Quietly), and here he brings all the sulky, gangling awkwardness of a 14-year-old Etonian to the fairy – more affectedly brattish, perhaps, than is necessary, but ultimately rather the more human for it.”