A Midsummer Night’s Dream (2016): Comedy of Modern Times
Dreamy, exciting, and hilarious are three words to describe A Midsummer Night’s Dream play by William Shakespeare. This five-act comedy play wonderfully combines magical elements and funny event sequences, making it one of Shakespeare’s most famous comedies. Many film adaptations of this play were made, but the most progressive one would be Russell T. Davies’ A Midsummer Night’s Dream, a British television film adaptation aired on BBC One in 2016. This film adds more representation and diversity to its elements without making it less comical or magical. It allows viewers to enjoy the infamous A Midsummer Night’s Dream through a new, fresh, and different perspective.
This film was written by Russell T. Davies and directed by David Kerr. It tells the same overall story as the original play; however, there are a few alterations to the time settings and characterizations. Although it is not explicitly stated, how the characters use touchscreen technology and advanced weapons tells that the story takes place in modern-time Athena. In this film, Davies turns Theseus (John Hannah) into a tyrannical dictator who plans to marry Hippolyta (Eleanor Matsuura), an Amazonian queen he imprisoned, for power union. This film portrays Theseus and Hippolyta’s relationship differently from the original play, and it is portrayed as an unequal relationship. In the beginning, Hippolyta is brought into the room dressed in a straitjacket, mouth covered with a Hannibal Lecter mask, and strapped onto a hand truck. Theseus also controls everything she does and says.
As mentioned earlier, this film gives representation and diversity more attention. Davies does it by taking creative liberties in altering the script, in which he adds gay and lesbian elements. Although this decision brings a lot of criticism, he defends it by saying he wanted to create a play with a man being together with a man, a man dressed in a woman’s clothes with a man, and a woman with a woman because that is how the world is now. He omits some dialogue from the original play and adds more to fit the new storyline. Davies changes Peter Quince’s character into a female character called Mistress Quince (Elaine Paige) to create diversity in gender. He also casts people of color to play several characters, such as Hermia (Prisca Bakare), Demetrius (Paapa Essiedu), Egeus (Colin McFarlane), Hippolyta, Oberon (Nonso Anozie), Puck (Hiran Abeysekera), Flute (Fisayo Akinade), and Snug (Javone Prince). With the diversity of the cast, children of all colors can watch this adaptation and feel included because they see people who look like them, which is why representation matters.
Since most actors in this film have experience in theatre or graduated from a theatrical school, their acting skills are guaranteed and professionally proven. Casting Kate Kennedy as Helena is a brilliant decision because she perfectly portrays her naivety and persistence in pursuing Demetrius’ love. Her tall figure also adds more dynamic and dimension to her relationship with Demetrius, capturing the viewers’ hearts with their height difference. Hiran Abeysekera does a wonderful job portraying Puck’s mischief with his facial expressions and mannerisms. Maxine Peake’s remarkable performance as Titania captivates the viewers’ attention with her heartfelt elocution and elegance as the fairy queen. Last but not least, Bottom is sensationally brought to the television screen by Matt Lucas’ performance, portraying his foolishness and silly antics flawlessly.
The costumes enhance their brilliant acting skills further. Theseus and his armies wear military uniforms, but Theseus’ red uniform stands out among his black-suited arms. This contrast shows that he is the leader with full authority. Hermia, Lysander (Matthew Tennyson), Helena, and Egeus all wear modern formal attires to show their noble status. The fairies all wrapped up in dark clothing adorned with plants all over their torso, beautifully presenting themselves as a part of the forest. They also have sparkling and colorful makeup on to emphasize themselves as magical creatures. The five Athen mechanicals’ costumes for the play are simple yet appropriate for their characters. The costume designer team puts wheels and a mechanically constructed hole on the wall that separates Pyramus and Thisbe, sticking to the modernity of the play’s time settings. This film also uses SFX makeup for Bottom’s head, seamlessly putting a donkey’s head on a human body. Thus, these exquisite costumes create more realistic yet magical effects that allow viewers to be more engaged and immersed in the story. Additionally, this film also uses a lot of CGI on the fairies, particularly when they use their magical power. For example, Puck transforms into a tiny, fleeting light to travel to complete his tasks from Oberon.
For me, the gay and lesbian additions have to be the most memorable scenes. It might sound a bit uncomfortable to some at first, knowing that there are unfamiliar changes in the adaptation, but they are naturally delivered and full of wit. Somehow, the kiss between Titania and Hippolyta also feels like the closure that both characters deserve. They seem to break free from men’s control in their lives and finally decide to take matters into their own hands. The play of the five Athen mechanicals also takes the crown for being one of the most memorable scenes with its hilarious execution. It is filled with simple, silly actions that will tickle your stomach and fish the laughter out of you, especially when the lion exits the stage with squeaky shoes. Every mechanical performs their parts in the Pyramus and Thisbe play earnestly, yet fascinatingly, it adds more comical points to that particular scene rather than reduces it.
Overall, Russell T. Davies’ adaptation of A Midsummer Night’s Dream is a fun, exciting, and entertaining film to watch. Davies has rather radical goals in his adaptation, which draws a lot of criticism from the public, but he cleverly executes his revolutionary visions. He brings representation and diversity into this film and presents it with brilliant casting, exquisite costumes, and smooth transitions between scenes. Despite the controversial additions, Davies succeeds in delivering the comical values of the play to the viewers.
