| Image from A Midsummer Night's Dream, Brook/Jacobs, Royal Shakespeare Company, August 1970 |
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| Image from A Midsummer Night's Dream, Brook/Jacobs, Royal Shakespeare Company, August 1970 |
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| Image from A Midsummer Night's Dream, Brook/Jacobs, Royal Shakespeare Company, August 1970 |
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| Image from A Midsummer Night's Dream, Brook/Jacobs, Royal Shakespeare Company, August 1970 |
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| Image from A Midsummer Night's Dream, Brook/Jacobs, Royal Shakespeare Company, August 1970 |
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| Image from A Midsummer Night's Dream, Brook/Jacobs, Royal Shakespeare Company, August 1970 |
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| Image from A Midsummer Night's Dream, Brook/Jacobs, Royal Shakespeare Company, August 1970 |
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| Image from A Midsummer Night's Dream, Brook/Jacobs, Royal Shakespeare Company, August 1970 |
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| Image from A Midsummer Night's Dream, Brook/Jacobs, Royal Shakespeare Company, August 1970 |
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| Image from A Midsummer Night's Dream, Brook/Jacobs, Royal Shakespeare Company, August 1970 |
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| Image from A Midsummer Night's Dream, Brook/Jacobs, Royal Shakespeare Company, August 1970 |
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| Image from A Midsummer Night's Dream, Brook/Jacobs, Royal Shakespeare Company, August 1970 |
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| Image from A Midsummer Night's Dream, Brook/Jacobs, Royal Shakespeare Company, August 1970 |
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Brook/Jacobs, Royal Shakespeare Company, August 1970
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"All this takes place at Stratford in a bare and consistently brightly lit stage which has the three levels of the Elizabethan Playhouse without being in any sense a reproduction of them. There is the audience level on which the cast make their contact with the public at the close of the play and on one or two other occasions earlier on in the proceedings. And there is a stage level which proves to be an enclosed white space - a room with two doors at the rear through which Theseus and Hippolyta enter...[and] exit as Oberon and Titania to enact what I take to be a pre-marital dream...For the working out of this dream a third level has to be arrived at. In fact the parallel is provided by a cat walk round the top of the room that constitutes the principle acting area of Sally Jacobs' set...The faries take on the form of modern-dress puppeteers dangling massive steel fishing rods that have the purpose both of suggesting that the quartet of lovers are manipulated marionettes and, at the same time, have the practical function of suggesting the trees that are supposed to grow in the wood near Athens." Peter Roberts, Plays and Players 10.70
| | Opening Date:
27 August 1970
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| Theatre:
Royal Shakespeare Theatre
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| Theatre Company: Royal Shakespeare Company |
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| |
| David Waller |
Bottom |
| Ben Kingsley |
Demetrius |
| Hugh Keays Byrne/Celia Quicke/John York |
Fairies |
| Glynne Lewis |
Flute |
| Frances de la Tour |
Helena |
| Mary Rutherford |
Hermia |
| Sara Kestelman |
Hippolyta/Titania |
| Christopher Gable |
Lysander |
| Alan Howard |
Oberon/Theseus |
| John Kane |
Puck/Philostrate |
| Norman Rodway |
Snout |
| Barry Stanton |
Snug |
| Terrence Hardiman |
Starveling |
| Sally Jacobs |
designer |
| Peter Brook |
director |
| William Shakespeare |
playwright |
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Arts and Humanities Data Service (AHDS). Copyright 2003-5.