Nicholas Hytner gives us an utterly inspired take on A Midsummer Night’s Dream at the Bridge Theatre, with Gwendoline Christie in stupendous form
“Come now; what masques, what dances shall we have”
You can tell a lot about a production of A Midsummer Night’s Dream from the way it treats its Hippolyta. Possessed of so few words, her presence is nevertheless vital for setting the tone of the play and from the moment you walk into the Bridge Theatre, you just know Nicholas Hytner has got it right. This conquered queen is caged in a glass box, as if an artefact in some grotesque museum and as an impassive Gwendoline Christie fixes us with her stare, it’s a definitive commentary on the gender politics here before we’ve even started.
But even once the play starts, her power is no less unremarkable. As Hermia claims she knows not by what power she is made bold, one look at Hippolyta’s hand against the glass leaves you in no doubt of the source of her new found confidence. Small but powerful changes that set the scene perfectly for Hytner’s most striking innovation which, as it reveals itself in the following act, proved to be one of the most thrilling ways to re-infuse excitement into this oft-performed classic. Continue reading “Review: A Midsummer Night’s Dream, Bridge Theatre”
“He thinks too much – such men are dangerous”
Though it is billed as ‘a promenade staging’ and the website refers to ‘mob tickets’ and ‘immersive ticket holders’, make no mistake that if you’re in the pit for Julius Caesar, you’re standing. For two hours. There’s a bit of movement, as in five paces that way or this when a new bit of the set has to wheeled into place but don’t be distracted into thinking there’s anything more on offer here than can be gotten further along the South Bank at the Globe (apart from a roof of course, which allows them to charge five times the price, or three times if you book your tickets via TodayTix).
And as with being a groundling, there are decided pros and cons to experiencing theatre this way. The first half of Shakespeare’s political thriller works extremely well under this modern-dress treatment from Nicholas Hytner. As you enter the Bridge’s auditorium, reconceived into the round here, the pit is filled with a rock gig, vendors sell beer and baseball caps, a febrile energy fills the space which carries through to the arrival of David Calder’s populist Caesar with his red cap and puerile slogan ‘Do this!’ (Contemporary allusions are clear but later on you may find the mind gets weirdly drawn to Murdoch more than Trump…).
Continue reading “Review: Julius Caesar, Bridge Theatre”
The full cast for the Bridge Theatre’s second production – a promenade version of Julius Caesar – has been announced and obviously the news that Adjoa Andoh will be playing Casca is the bee’s knees.
The company is: Adjoa Andoh (Casca), David Calder (Caesar), Leaphia Darko (ensemble), Rosie Ede (Marullus/ Artemidorus), Michelle Fairley (Cassius), Leila Farzad (Decius Brutus), Fred Fergus (Lucius/Cinna the Poet), Zachary Hart (ensemble), Wendy Kweh (Calpurnia), David Morrissey (Mark Antony), Mark Penfold (Caius Ligarius), Abraham Popoola (Trebonius), Sid Sagar (Flavius/Popilius Lena), Nick Sampson (Cinna), Hannah Stokely (Metellus Cimber), Ben Whishaw (Brutus) and Kit Young (Octavius).