Shakespeare’s A Midsummer Night’s Dream is being reimagined in Göttingen. The production blends classic comedy with contemporary elements, from 20th-century costumes to unexpected props like asthma inhaler, creating a humorous, engaging experience. The actors deliver stellar performances full of wit and energy.
By Anna Savchuk
Picture (cropped): Via Pixabay, CC0
On the 27th of February, Göttingen audiences are absorbed by TNT Theatre Britain’s performance of A Midsummer Night’s Dream, directed by Paul Stebbings and produced by Grantly Marshall. Known for its dynamic and explicit Shakespeare productions, the company has performed across three continents, captivating viewers with their blend of music, choreography, and theatrical performance. Founded in 1980, TNT Theatre has established itself as a leading force in international theatre, presenting classic works in a modernized and engaging style. The Deutsches Theater Göttingen hosts A Midsummer Night’s Dream as a guest play, providing the perfect stage for the performance.
The War of the Sexes
TNT Theatre Britain’s production of A Midsummer Night’s Dream masterfully brings Shakespeare’s timeless battle of the sexes to life, combining comedy with sharp social commentary. The tensions between men and women are played out with playfulness and passion. Manipulation, power imbalances, and often absurd and complicated nature of love are highlighted. The uneasy dynamic between Theseus played by Tobias Forbes and Hippolyta (Rachel Middle) marks the opening of the play. The tension already takes place in their upcoming marriage, as Hippolyta is defeated by Theseus in the battle that confines her to the role of a bride and traps her in an unwanted marriage. The choice of actors is a masterful demonstration of this power dynamic, with Theseus exuding control through his presence and performance while Hippolyta conveys quiet defiance. This imbalance reflects a recurring theme throughout the play: love as a battleground where power may shift unpredictably.
This same tendency is further developed and uncovered throughout the play and is even more vividly portrayed in the fairy kingdom. One of the central conflicts between Oberon (Tobias Forbes) and Titania (Rachel Middle) in A Midsummer Night’s Dream highlights the struggle for power between the king and queen of the fairies. Oberon and Titania’s feud over the changeling child is brought to life with great intensity through sharp verbal sparring. Determined to assert his dominance, Oberon tricks Titania into falling in love with Bottom (Oliver Byng), an amateur actor who has been transformed into a donkey. The peak moment of Titania’s affection for the oblivious, Bottom dressed in a donkey head costume, is both hilarious and unsettling: The audience is reminded of the irrationality of love and the way power can manipulate relationships. Meanwhile the human lovers provide a different but equally engaging look at gender dynamics. Helena’s (Meredith Lewis) relentless pursuit of Demetrius (Oliver Byng) contrasts with Hermia’s (Natalie Bottova) fiery resistance against being forced into an unwanted marriage. The moment when the two women turn on each other creates chaos and misunderstanding while also balancing humor with genuine emotional tension. It emphasises that love is not universal and is determined by forces that we cannot influence.
Comedy at Its Best
The comedic brilliance of A Midsummer Night’s Dream is achieved by the actors’ performances and their ability to seamlessly shift between characters and moods while keeping the humor alive. The dialogues are well-crafted, full of wit and sharp retorts preserving the spirit of classic Shakespearean drama while being adapted to a modern context. Following the plot of the original play, the story revolves around four young lovers, a group of amateur actors, and feuding fairies whose magic causes confusion, mistaken identities, and comedic chaos in an enchanted forest. The tone is set at the very beginning when Theseus and Demetrius discuss Demetrius’ intent to marry Hermia, despite her love for Lysander (Will Medland). Theseus’ sharp remark, »You have your father’s love, would you marry him?« is delivered with perfect comedic timing, highlighting the absurdity of the situation. The audience responds enthusiastically to the onstage humor, even engaging with the characters, joining in when encouraged to applaud during key moments.
The love triangle – or better to say, love quadrangle – between Helena (Meredith Lewis), Demetrius (Oliver Byng), Hermia (Natalie Bottova), and Lysander (Will Medland) is a joy to watch. The actors exaggerate their emotions just enough to make every misunderstanding and shift in affection absolutely ridiculous. Helena’s pursuit of Demetrius is particularly chaotic and hilarious, especially when she follows him around the stage with an almost dog-like devotion, panting after him. This exaggerated desperation adds to the scene’s absurdity, making it both embarrassing and entertaining, as the audience responds with laughter. Her dramatic declaration, »I’ll follow him and make a heaven of hell«, only makes the whole act more absurd, followed by her flailing and pleading to Demetrius who barely acknowledges her existence.
The real chaos unfolds when Oberon’s magic takes effect, causing both Lysander and Demetrius to suddenly fall in love with Helena. When Hermia, furious that Helena has “stolen” both men, enters the scene, the turmoil intensifies. The rivalry of both women is performed with great intensity by Natalie Bottowa and Meredith Lewis mixed with exaggerated gestures and perfectly timed physical comedy, making the performance a good display of Shakespearean humor that captures the essence of the play.
A Contemporary Take on Shakespeare
Blending the old and new, the production cleverly incorporates modern elements into the classic Shakespearean play, making it more engaging for a contemporary audience. While the fairy characters remain in their mystical aesthetic, the human characters have costumes and accessories that fit more within the 20th century rather than ancient Athens. For instance, the changeling boy is dressed like a typical child from 1900s England, adding a humorous contrast to the otherwise fantastical setting. Some unexpected items like soap bubbles, a toothbrush, and even an asthma inhaler appear throughout the play, adding to its grotesque and absurd quality. One of the peak scenes comes at the end Helena and Hermia suddenly break into a full-blown breakdance, sending the audience into laughter. These modern twists do not just update the play visually – they amplify its humor, proving that Shakespeare’s comedy can transcend time and remain just as entertaining today. The limited stage decorations somewhat reduce the play’s charm, making it more challenging for the actors to create a full sense of the setting. Even strategic lighting cannot fully compensate for the minimal set design. Additionally, some costumes seem relatively simple, which slightly affects the overall aesthetic. However, certain costume choices remain puzzling—particularly the inclusion of modern attire in a play set in ancient Greece, Athens, which feels out of place and unexplained. With only five actors portraying multiple roles, the potential for confusion remains high, but their strong performances and distinct costume changes help to clarify the character shifts.
Despite limited stage decorations, the actors do a successful job of bringing the world of A Midsummer Night’s Dream to life. Not only do they seamlessly switch between roles, but their singing adds another layer of magic to the performance. The most important thing is that the audience has received the play positively, thoroughly enjoying the humor on stage, and enthusiastically encouraging the actors. This inventive production demonstrates that Shakespeare’s comedy, enhanced by carefully integrated modern elements, remains as engaging and timeless as ever.
