MAYER WAKEFIELD is entertained but let down by an audacious production that, sadly, doesn't ring true
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.
MARY CONWAY admires a brave and topical study of Armageddon that is, unfortunately, unable to come to a conclusion
If you only see one show in Edinburgh, make it this one urges EWAN CAMERON
KEITH RICHMOND relishes a superbly conceived modern version of Aeschylus’ drama of murderous family succession
MARY CONWAY becomes impatient with the intellectual self-indulgence of Tom Stoppard in a production that is, nevertheless, total class


