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Dream of a production
MARY CONWAY sees a gender-bending version of a classic Shakespeare comedy triumphantly reconfigured
Lighting up the stage: David Moorst and Gwendoline Christie [Manuel Harlan]

A Midsummer Night’s Dream
The Bridge Theatre London

THE BAD news is that, as with Brexit, responses to production will fall into two bitterly divided camps. The good, though, is that unlike with those negotiations, this tale of desperate lovers is thrillingly theatrical and worth anyone’s time.

Not only does Nicholas Hytner have a ball, he invites all to join in the unconstrained hedonism of a last blow-out party on the edge of doom. It’s a welcome antidote to the current world at large.

Just as with Hytner’s earlier Julius Caesar at the Bridge, this is a promenade performance where half the audience stand. And the action is everywhere — from high-wire acts, soaring glass booths and ivy-laden brass beds to floating moon balls, glamorous fairies and a gravity-defying Puck.

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