Review of ‘A Midsummer Night’s Dream’ (2026, The Globe): “Interactive production doesn’t take pains, but it’s almost perfect”

This is not the groundbreaking tour de force that The Globe blessed us with at the end of last year, but it’s not that far from that level of excellence. There’s nothing technically new about it. Unlike the venue’s most recent predecessor, this one is back to drollery, liveliness, and, of course, summer. And that is okay. It’s even more than okay. And at some moments, it’s even brilliant.

If your latest incursion into the Bard’s habitat has been met with disappointment (and who could blame you after coping with their last version of The Tempest), you’ll be pleased to know their sins have been redeemed through this exhilarating interpretation of what’s arguably Shakespeare’s most popular comedy.

Significantly better than their previous 2023 open-air production, Emily Lim’s take demonstrates a deep understanding of both the material and its audience. The result is a high-octane delivery that swarms with amusing qualities without undermining the piece’s dramatic strengths.

Overall, faithful to the original, a few inevitable inclusions have been made to bring it closer to the modern viewer. If there’s something the current scene has been plagued by, that’s the annoying tendency to trivialise classic works- and that goes beyond Shakespeare -to avoid alienating unacquainted guests. The outcome is far from positive. And for the most part, it’s a brutal attack on art and its integrity. I’m not saying this as a purist, but as somebody deeply offended by the lack of trust some directors put in these pieces.

Fortunately, this is hardly the case. And every new element that’s been brought into it only makes the experience more enjoyable. Audiences are invited to take part in a way that, rather than coming across as a gimmick or a stunt, works as an excellent tool to drag us into the story’s universe. And so, you might be lucky to pass the pre-show audition and join Nick Bottom’s troupe for your 2 minutes of onstage glory. Or if acting isn’t your thing, you can always join Puck’s singing to unfold the marvels of the Athens forest. Who knows? You might end up as the chosen one.

There is a good balance between Shakespeare’s writing and the production’s alterations for the entire performance. Despite their flippant essence, none of these additions crosses the line. They don’t make the source become a parody of itself. Nor do they pander to the lowest common denominator out of fear of what audiences can process — an act of arrogance, if you ask me. Instead, all these changes are justified, and they contribute to the play’s engagement. And in that effort, they accentuate its vibrancy, sass, and charm, turning what could have been one more revival into a truly unique journey.

Most of the company excels in their hyperbolic yet deeply internalised and generally organic renditions. Romaya Weaver plays a deliciously waggish Helena while Michael Grady-Hall delivers a hearty, goofily captivating portrayal of the impish Puck. The highest praise goes to Adrian Richards as Nick Bottom, whose inherent humourousness and magnetic energy perfectly capture and underpin not just the role’s nature but the quintessence of a stage actor.

It may come as a clunky pun to say that this production works like a dream. Yet, there are barely any better ways to describe other than perhaps admitting that, for at least a couple of hours, I was enamoured of an ass — and also a few fairies. I won’t say I’m sorry for the double entendres. And neither should this production apologise for updating a masterwork, making it more approachable and ultimately fun. Lord, what fools these mortals be! But that’s what made this whole thing divine. And timeless in its own right.

All pictures credit to Helen Murray.

A Midsummer Night’s Dream plays at London’s Shakespeare’s Globe until 29 August. Tickets are available on the following link.

By Guillermo Nazara