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A half-century on, the majesty of Peter Brook’s Royal Shakespeare Company production of A Midsummer Night’s Dream still hangs heavy over theatre in Britain. For all Nicholas Hytner’s chutzpah in confronting the primal scene of modern British theatre, his new production lacks the courage of his convictions. There’s no follow-through to the opening act’s sense of sexuality’s threat, no lingering darkness. It’s just another attempt to get down with hyper-current sexual politics, without interrogating their complexities. And no one needs another Dream populated with fairies in disco spandex and body glitter.
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