A Midsummer Night’s Dream

Criticism , Theatre Dec 18, 2009 No Comments

“For the past ten years, people have been making fun of the 80s,” Canadian actress Lexa Doig complained recently. “Why are we bringing them back?” As one takes one’s seat in B Sharp’s Downstairs Theatre, one may wonder exactly the same thing. Eamon Flack’s production of what is essentially Shakespeare’s sex comedy opens with Theseus serenading Hippolyta with a rendition of Frankie Goes to Hollywood’s ‘The Power of Love’, which he plays on a Casio keyboard. The set—a tiny garden-party stage of turf and a tacky-looking curtain of tinsel—looks like something out of The Wedding Singer. The use of these chair style toilets overnight generic viagra can become the cause of generating constipation, IBS, hemorrhoids, diverticular disease, and other problems. There are three natural ways to help bile alkalize: 1.) Eat an alkaline diet, 2.) Take alkaline overnight shipping of cialis minerals, and 3.) Drink alkaline healing mineral water. If men and women are experiencing severe anxiety along with their depression, then they may be prescribed something with different properties. order viagra professional The first anti ED medicines generic super viagra were designed to cater at large to older men these days in fact young looking the man is in mood to get in to love making sessions.There are various other effective treatments that work in upgrading sexual desire, also there are several natural and herbal solutions that work best in eliminating loss of libido, sildenafil citrate is different.Online pharmacies offer. The answer to Doig’s question suddenly seems obvious: people are bringing the 80s back precisely to make fun of them. Not that the bad-hair decade is this production’s only target, of course. The Bard comes in for his fair share of whipping, too: this is a Dream that delights in veering, often completely, off script, with a cast of bright, young, anarchic things who aim to misbehave and succeed with aplomb. Breaking character and the fourth wall in equal measure, Charlie Garber is very good as Bottom and Puck, and Gareth Davies delivers what is perhaps the most hysterical and transgressive performance of the year as a wild-eyed Flute, the Bellows-Mender.

The Australian, 18 December 2009

Matthew Clayfield

Matthew Clayfield is a journalist, critic and screenwriter.

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