"Years from now, when people are discussing iconic moments in theatre, they will mention Supple's unique vision. It's a project that assumes multiculturalism is bred in the bone, not dragged out for special occasions.
You listen to these actors speaking in their native tongues and – if you have the slightest knowledge of A Midsummer Night's Dream – you will not only understand them, but you will appreciate them fully.
For those who might be feeling a bit queasy at this point, let me assure you of two things: first, English is spoken half the time and second, Supple's interpretation of the play is so clean and all-embracing that it may be the first time you understand all of A Midsummer Night's Dream thoroughly."
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"What it holds on to is its joyously realised bravura that rips into a tale long hijacked by the heritage industry and makes it sexier and more muscular. Acrobatics, live music and a gorgeous-looking cast work their magic on a climbing frame underworld hidden by a paper curtain that's literally ripped aside to reveal its rigging.
It nevertheless remains the brightest, most topsy-turvy breath of fresh air the bard has received for some time. Its irreverent mix of ancient ritual and modern spectacle reclaims Shakespeare for the here and now of 21st-century multiculturalism with all of the pageantry and none of the platitudes."
"Magical, mysterious, unforgettably sexy production of the Dream.
With a cast drawn from all four corners of India, and a polyglot script in which English is only one of eight languages employed - the others being Tamil, Malayalam, Sinhalese, Hindi, Bengali, Marathi and Sanskrit - this is unlike any other production of the play you have seen.
There is a constant feeling of Shakespeare being minted anew, of a company of superbly committed, versatile and highly individual performers getting straight to the heart of the play without having to plough through accreted layers of tradition. Everything seems fresh, spontaneous and positively throbbing with sensuality."
"Accompanied by evocative drums, flute, strings and, in the case of the players, a cacophony of rattling pots and pans, [the music] becomes just another part of the heightened sensory experience. Indeed, it is quite thrilling to see the straitjacket of the Bard's sacred word thrown off in favour of something far more fluid, more visceral. Stripped of classical dialogue, Supple's production digs down to the dramatic heart of Shakespeare and discovers the very essence of his theatre."