The theatre has always been a significant part of my cultural life. For five years, I attended a drama, singing and dancing school, where performing artistic pieces to an audience of proud parents was at the bedrock of its purpose. From a young age, I regularly went with my parents to the local Arts Theatre, Corn Exchange and Concert Halls to enjoy musical performances, productions and interesting individuals. It is only in these last few years however that I have really appreciated my luck. There is nothing but pleasure in being exposed to such wonders, artistic education and enjoyment.
Nevertheless, even those unfortunate enough not to experience the magic of the theatre will surely be aware of the world's most famous playwright. A compulsory part of the GCSE English Literature syllabus, his plays involve love, betrayal, rollicking comedy, tragic deaths and the fine line between human good and evil. Yes, that's right, I speak of course of the historic wondrous William Shakespeare. One thing the education system can often forget is that his plays were written to be watched and performed. I can understand why reading the written script can seem wearisome and tiring. So it was a true delight to follow Shakespeare's ambition and attend 'A Midsummer Night's Dream' at the Globe Theatre yesterday evening. The architecture of the theatre most certainly retained class hierarchy. Though the modern Globe was only completed in 1997, after being demolished in 1644, it perfectly retains the history and authenticity of Shakespearean times. We were all transported back to the 17th century: the powerful, sturdy wooden structures, carefully arranged seating, a thatched roof, a majestic, grand stage. People knew their place. The Globe, to my surprise, is open air, meaning we could gaze up as the sky got darker, dream of the future, feel the connection between the natural world and the action on stage. it made the whole play feel that bit more glorious and universal in its message. Our tickets were for the yard - the pit area directly in front of the stage. Prime seating, you may think. Except it's standing only. No sitting down whatsoever during the play. We were officially the peasants, the masses who would get drunk in wonder at Shakespeare's wit. Initially, we thought this may be a challenge, given 'A Midsummer Night's Dream' is quite a lengthy play. There was no reason to worry. Thanks to our punctual nature, we were right by the stage allowing some physical leaning for the enduring sight. As for the rich aristocratic nobles (also known as those who were happy to pay much more for tickets) they got comfy seats - once cushions were added - with a wider view of all proceedings. They were literally and metaphorically above us. The evening started with a delightful brass band who provided the music throughout the play. It is only in isolation - hearing the music or the words - that the sounds are really appreciated. Music adds so much to culture - be it television, film or radio - in terms of emotion, action and making the viewer feel connected. It is no surprise that Classic FM regularly devotes whole days to music from the greatest films. The band were splendid, not just in the quality of their music but their marvellous outfits, personality and audience engagement. This was followed - whether to fill time or as part of a Globe tradition - by three children (eventually) destroying a pinata, which was all jolly amusing and quickly forgotten! The play itself was a hilarious, bizarre, strange, all-compassing mash-up of why Shakespeare remains so relevant and popular today. 'A Midsummer Night's Dream' has a complex plot, with love octagons (not triangles!) of people falling in love and despising others. Hermia and Lysander love each, Hermia's father wants her to marry Demetrius, except he is loved by Helena. Got it yet? The characters managed to portray the complex nature of human impulses and pleasure balanced with family pressure very well, with impassioned scenes on and off the stage. We could feel character pain as they were unable to convince the person they were in love with to return their devotion. That's without all the expectations of marriage, aristocracy and reputation. Of course, the best thing to do when under pressure is run away into the forest. This creates all kinds of mischievous fun: fairies running wild with love potions, a play rehearsal within a play, widespread confusion as nature takes its course. Shakespeare cleverly explores the balance between true, unrequited love and artificial passions, even when it involves a donkey. The production cleverly had all the characters playing Puck, allowing them to constantly blow sleeping potions at each other midway through a remark. The drama production of 'Pyramus and Thisbe' (rather like Romeo and Juilet I thought) was made even more wacky by an apparent random member of the audience who appeared to have no clue what to do. Nevertheless, he took it in good jest, with the regular acting laughter showing how much the actors enjoyed their job. That certainly made us enjoy the play... The costumes were quite literally out of this world. Shakespeare himself would have been stunned into silence, unable to make an intelligent remark, such was the scale of their clothing. While the stage set remained fairly simple, every colour possible had been added to the celebrations, with glitter, sparkle and glamorous garments strolling around the stage. It was a spectacle to behold, the staggering nature of what was in front of our very eyes. Yet this, along with the exaggerated actions, emotions and movements, made the play easier to understand. The modern day costumes combined with retaining the dialect, register and clarity of Shakespeare's language only further highlighted what a remarkable feat this was. On the train home, we mused at what Shakespeare would have thought about this play. I suspect he would have been humbled that people were still reading, studying, enjoying and attending adaptations of his work. He may have enjoyed the modern slant, keeping language, and base material while mixing modern troupes of selfies and veganism! I suspect, though, he would feel pleasure that, whether performed in the 16th or 21st century, in traditional costumes or contemporary dress, the universal human desire for love and contentment was so appreciated by the audience because it had been so excellently performed. Those abstract, but such vital, human feelings, soared through the London night as we ventured home, thanks to the unrivalled wordsmith that is Shakespeare.
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