It has become fashionable for directors to take liberties with the plays of Shakespeare. Usually I thoroughly disapprove of such productions. But, one must keep an open mind, as I found last Thursday at a production of A Midsummer Night's Dream at the King's Theatre in Edinburgh, directed by Tim Supple. This production was done in the languages of India, modern and ancient: English, Hindi, Bengali, Malayalam, Marathi, Tamil, and Sanskrit. The culture of the Indian people, their languages, their music, and their customs, all contributed to the wonderful success of this production.

Of all Shakespeare's comedies, there are none so fanciful as A Midsummer Night's Dream. Nor are there any so delightful to watch, when done properly. Sadly, it has often proven difficult to transfer Shakespeare's world of fancy onto a set. Following a performance of the play, William Hazlitt said, "The regions of fancy and the boards of Covent Garden are not the same thing. All that was fine in the play, was lost in the representation." Quite true. Not so, however, for this particular production, nor the boards of the King's Theatre. This was not, I am pleased to say, due to the wonders of modern technology. The ornate set, complete with vine-like ropes and a grandiose bamboo structure, proved to be the perfect play thing for fairies and mortals alike. Contributing to the visual aspect of the play, was the use of traditional Indian acrobatics. Dharminder, Ram, and Lakhan Pawar belong to an acrobat family from Pune. Their amazing usage of the set wowed all in the audience.

The quality of acting was likewise commendable. The players all brought an exuberant energy to the fanciful stage, unmatched by anything I have hitherto seen. Puck, played by Ajay Kumar "Geetarjun," and Bottom, played by Joy Fernandes, were most excellently performed. Joy, who has recently founded the Attic Salt Theatre Company dedicated to the art of satire, made a particularly amusing ass, for reasons rather too vulgar to mention. The addition of song and dance in the production were well-received, having a Bollywood-like appeal. On either side of the stage, there were traditional minstrels. The music of India contains an energy that complemented well the general atmosphere of the play.

There will be two more stagings in the UK, at Manchester starting on 31 October and ending on 3 November, and at Plymouth beginning 6 November and ending on the tenth. For all those interested in Shakespeare, India, acrobatics, and music combined into one and topped with great acting, it is not to be missed. For more information regarding tours and the production of the play, visit http://www.dreamonstage.co.uk/.

Tim Supple's Dream will play at Chicago Shakespeare’s Courtyard Theater
November 25 – December 7, 2008. Click here for details.