A Midsummer Night’s Dream

Southwark Playhouse
4- 28 February

For the Southwark Playhouse’s annual Shakespeare production, director Jonathon Man utilises the classical Japanese dance genre of Kabuki in this ambitious re-imagining of romantic comedy A Midsummer Night’s Dream.

The play is centred around the wedding celebrations of Daimyo Theseus and Hippolyta, and is comprised of three overlapping plots: Hermia elopes with her lover Lysander, threatened with death by her angry father Egeus at her refusal to marry Demetrius, who follows them, chased by his first love Helena, who is still infatuated with him; Oberon, the king of spirits intervenes with the help of his servant, Puck, whose mistakes lead to some dangerous consequences, not to mention love triangles; Meanwhile, the ‘Kaga Craftsmen’ are rehearsing a comic tragedy to be performed at the wedding, drawing some interesting parallels between characters, regardless of their sizable class-divides.

The production opens with a chorus of seven singing players performing a classical Kabuki song with handclapped accompaniment, which leads into both Japanese and English dialogue, with a strong commitment to the original script. The formal Japanese dance is too much for some audience members though, as I become slowly aware of a girl shaking as she bites her fist in an attempt to contain her sniggering.

However, the second half sees a transformation in Watanebe, whose more animated physical performance as Oberon is a million miles away from his somewhat awkward playing of Theseus. He is particularly strong in the scenes where he is commanding and scolding Puck (played by the versatile Jay Oliver Yip, who also plays Egeus and Quince) and ad-libbing; when a member of the audience interrupts his singing in Japanese, he responds with an “Eh?” and carries on seamlessly. The audience erupts with laughter, but this time the sniggering is with, rather than at the performance.

The first half is much harder to follow overall, with the Japanese-English language mix just a little too disjointed. Again, this is resolved in the second half, where we are treated to a wide range of spectacles, from an elegant fan and mask dance to a truly hilarious rendering of Pyramus and Thisbe, the play-within-a-play.

The stars of the show are Hermia (Nina Kwok) and Helena (Julia Sandiford), whose comically violent physicality and witty grasp of the script (respectively) stand out above all else. Matt McCooey (Lysander and Bottom) also has a wide-eyed optimism and innocent charisma that is a pleasure to watch.

-Patrick Coyle

Southwark Playhouse presents

A Midsummer Night's Dream

William Shakespeare

February 4th 2009 - February 28th 2009

Show starts: 7.30pm
Running time: 90 mins

Don’t get caught in the fairy crossfire!

Southwark Playhouse re-imagines Shakespeare’s most magical play in Samurai Japan, bringing the mysticism of the East to the atmospheric cellars beneath London Bridge Station.

Inspired by the delights of Japanese Kabuki dance, the grace of Noh theatre and the comedy of knockabout Kyogen clowns this Midsummer Night’s Dream will create a world where the charmed and the charming co-exist.

Packed into 90 minutes this production will combine vibrant verse, striking physical imagery and ensemble performances to breathe life into this most mischievous of plays.

Directed by, innovative British Chinese director Jonathan Man, this year’s winner of the Better Bankside Shakespeare Award.

Post-show talk – Thursday, 19th February 2008

"Southwark Playhouse’s annual Shakespeare production is a credit to the most theatrical of boroughs"
Time Out

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Creative Team

Director	- Jonathan Man
Designer	- Wai-Yin Kwok
Lighting Designer	- Chris Pye
Sound Designer	- Cos Chapman
Movement	- Billy Sy

Cast

Theseus / Oberon	- Kenji Watanabe
Hippolyta / Titania	- You-Ri Yamanaka
Egeus/ Puck / Quince	- Jay Oliver Yip
Demetrius / Flute	- David Lee-Jones
Helena / Starveling	- Julia Sandiford
Lysander / Bottom	- Matt McCooey
Hermia / Snug	- Nina Kwok

Supported by

Better Bankside

Royal Victoria Hall Foundation

The Topinambour Trust

Workspace Group

thanks for all the lovely comments.  just an update. I was in HK over christmas and new year.  New years was actually spent at the alive not dead new years party....  Good food, good times.  I love the idea of working more in HK yet the industry seems difficult to break in. I had a radio play which aired in London on BBC Radio 4 on the 1st of Jan in the new year which was exciting. 

http://www.bbc.co.uk/iplayer/episode/b00g50lh/b00g50l1/Afternoon_Play_Hong_Kong_by_Night/

enjoy! and Happy New Year!

Now I am in the full swing of rehearsals in London.  The show is Shakespeare's A Midsummer Night's Dream.  It is set in Japan where we are running around in Kimono and ....ballet shoes :b.  My main character is Hermia.  Whom the guys Lysander and Demetrius fight over until they are put under a spell by a forest spirit  Puck.  The show has been cut down to 90 minutes so is fast and active.  We also have 2 wonderful Japanese actors who play Titania and Oberon.  They will be speaking in Japanese and English so it is a bilingual production.  I feel so lucky.  I have been in bilingual shows with cantonese /mandarin and english.  My last  Shakespeare show King Lear was performed in Shanghai.  But I never thought I would get to take part in a Japanese production.  It is truly an honour.  And it is fascinating to take on  the japanese theatrical culture, however little given the short time we have to rehearse.  We have 3 weeks to put together all costume, dance, physical theatre and play.  But the actors and production team are pulling together well.  I did some research into this play by watching the Japanese version of King Lear - Kurosawa's 'RAN' .  I took alot from it and was very much inspired by the fool in the film. M planning to base one of my characters on him.  But also there is one of the most insane, hilarious and creepy scenes in it.  Just look out for the crazy woman who plans to murder and then spends a minute laughing her head off and running around the room before making love to her victim....  It will all make sense if u watch it.....

Well this is it for me.  If anyone is in London this Febuary, come and see the play.  Details below!  till next time!



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First thanks you to everyone for their messages and welcome notes!!  I haven't visited enough but will be checking in more regularly.  I was in HK for 2 months but now m back in London.  So cannot shake it with the best of you at the Halloween party! .....:s   There will be a next time! Thought it would be interesting to include some of my old headshots.  I had to cut off my hair last year so that I could play a boy on stage.  We were all in the rehearsal room and was called one by one to take the cut  ..........dramatic sigh***  the sacrifice one makes for one's art..........***  

err... actually there were no tears -there was no drama.  It was rather fun!  Such a relief to not have to look after so much hair.  No straighteners, no curling irons. just wake up , mess it up and out the door..... But I think on the whole it is better to audition with long hair.  It's what people mostly expect in the UK when they cast a Chinese girl. 9 times out of 10 they imagine the character with long hair.  So it helps if they are able to visualise in the audition.   So now...I am growing it allll back. Yes all of it.  It will take years  .....sigh..........

 

well well i think i am getting the hang of this.  so tricky to add friends on this.  no computer whizzkid -moi.  ok ok....so been in London for a while now.  And currently have two jobs going at once.  I am sooo happy but so tired.  I am filming again for a hospital drama called Holby City in UK for television.  The episode should air in July.  One episode takes one month to complete and that is just the filming and editing.  The scrīpt is developed and cast before then. 

Anyway, this is my third time on this show. yea!! I am returning as Robbie Ling the enthusiasttic translator.  Though this time I speak mandarin. yep.  I spoke cantonese before but it has occurred to me it is so important to speak mandarin cos there are loads of storylines involving mainland China.  This is the third time I have performed in mandarin.  So being proud of being Chinese, I am determined to get it perfect.  No gweimu accents thank you very much.  I have been living with a dictaphone and I have also kidnapped my good friend Cancer for 2 weeks.  She has been held hostage here so that I can run my lines over and over with her till her ears bleed........(rather graphic of me i apologise).  Cancer is actually a scrīpt writer in HK. And though her work has been performed in Theatres across HK and China, she is still brave enough to come here and take on the Brits and see how they write.   

Also currently in rehearsals for 'An Eligible Man' by Rosemary Friedman.  A play with white people and me. haha is that PC??  Nah, it's actually a very white middle class play with most of the characters in their late 30s to early 50s.  And it's set in the UK all except one scene that is based in China.  yep that's where I come in.  The novel was actually published in 1989 and though a third of the book is set in China, the stage play is set in London. hence my ONE scene.  But you get used to that over here.  Cos come on, who wants to see chinese people running around with probems when they can see english people do it over here.  It is harsh to say that but true. Why on earth would they call my character Chrysanthenum, put me a cheung  sam and ask me to put me on a Chinese accent.  But the scene is actually very comedic and I think it depends how u play it. I just have to make sure I don't just play a stereotype.  I am working with really good established actors and it will start end of April til 8th June.  About 7 performances a week. 

I will dish some dirt next time. ...  i think my blog is too clean........