I’m sure you’re thinking, “Really, yet another Midsummer Night’s Dream?” Or, perhaps, “Shakespeare? Honestly, why do I need to see this?” The answer to both is: Julie Taymor (The Tempest).
Taymor is one of the most visionary stage directors of our time. She employs simple techniques to create magnificent effects. Think the puppets in The Lion King, which have become her trademark. Midsummer certainly leverages that aspect of her talent, but also her ability to distill a play to its essence and manifest it. The opening moments of this filmed performance will grab you and make you wish you’d been in the audience. She takes several minutes before the first piece of uttered dialogue to visually create the world and your expectations, to invite you into a magical realm, to escape for a while into the silliness of this comedy.
There are a number of solid performances, but chief among them in Kathryn Hunter (Harry Potter and the Order of the Phoenix). Her Puck is brilliant and carries the show well through acting, voice, and movement. As Oberon, David Harewood (The Night Manager) brings both a power and heart to the self-important ruler, though it is still rather hobbled by the plot he must walk.
The Mechanicals, led by Max Casella’s (Jackie) Bottom, are suitably absurd, and each has their moment. But it is Zachary Infante (Carrie Pilby) as Flute that really shines in one of the play’s most important moments near the end of the film.
The approach to filming the play is done rather well, capturing both an audience feel and “in the action” keeping it from feeling too static. There are a few moments that I’d rather have seen from long shots, to really appreciate the staging, but generally, the cameras floated among the characters like the fairies in the play.
So here’s the truth: The play isn’t perfect. Frankly no Shakespeare is. Sensibilities have moved on and the plays tend to be a bit longer for their purpose than modern times tends to care for and, clearly, a little too forgiving of cultural mores that are well out of date. In the case of Midsummer, the opening scene and the overlong wrap-up probably will grate a little. You are also forgiven for wondering why the heck we have to sit through the mechanical’s presentation while the Duke and co. heckle them. The Mechanical’s play is funny and, really, it is used to get to the single moment with Flute, whose declaration of love is one of the most heart-felt in the entire play, which is full of overblown histrionics by design. That moment brings it all back to earth. More generally, in today’s terms, Shakespeare had written himself into a corner and needed to wrap up the threads and entertain the cheap seats. However, to be a little more fair, the original intent of the play was about (and for) the wedding.
If you’ve never seen Midsummer, this is a great one to start with. If you have, it may well become your favorite interpretation on a broad scale. There have certainly been better and more memorable individual performances of characters in this play, but as an overall delivery, this version is truly extraordinary and wonderful to watch.