Elopement, fairies, and an ass? Shakespeare’s A Midsummer Night’s Dream enchants audiences with timeless humor and romance. This month, the Israeli Opera is putting a twist on Britten’s version. Here’s a chat with Joshua Bloom (Bottom) and Rupert Charlesworth (Lysander) on what’s in store
How does this production differ from the original in terms of setting?
Bloom: They’ve gone for a very modernized version set in the 30’s, in the Golden Age of Hollywood. It’s set on a sound stage, filming a production of AMND, and different characters play particular archetypes of the time; Theseus is the head of MGM Studios, Titania is the Marilyn Monroe-type star.
Charlesworth: Yes, there’s definitely a concept! Everything Ido [Ricklin, director] has chosen to update works really well - we’re all excited to see how it will turn out.
Did this setting alter your view of AMND?
Bloom: It’s still largely the original text, with some changes, like the first scene in the play occurring at the end, but the piece is still the piece.
Charlesworth: Lysander is quite verbose and over-the-top at the beginning, which can work in a more “traditional” setting, but also works well with the larger-than-life, stylized 30’s.
How do you get into character?
Charlesworth: I’m a doer. I love to try things physically, it helps me find who the character is. I think of Lysander as having a Gene Kelly-esque ease of movement; hands in pockets, swinging his legs, he is innocently joyful.
Bloom: I came in with a rough idea of how I would approach Bottom, but refining it over the rehearsal process is key. Obviously, there are certain obstacles, like getting turned into a donkey. The initial donkey head had half of the mesh that I could see and breathe out of covered up, so I was hyperventilating. We had to go back to the drawing board.
Are there similarities between your role and yourself?
Charlesworth: Lysander is a little more hopeful and happy than I am, I think we could all have a bit more of that. It’s something to aspire to.
Bloom: [Laughs] That’s a bit of a stretch. I think that most people in performing arts are lacking self awareness… They are arrogant. We all know people like Bottom, who want to play every part in every play. The fact that he takes himself so seriously makes the comedy.
How has it been working with Ido Ricklin?
Charlesworth: Ido is delightful to work with. I think I speak for the rest of the cast when I say we’re having an immensly great time working with him. I hope to be invited back to Tel Aviv.
Bloom: The bit I love most about the job is the rehearsal period. Ido comes in with a strong idea of what he wants, but let’s us find a way to get there; he’s a doer like I am, he would rather see us play than discuss.
Jan 4-17. The Israeli Opera House, 19 Shaul Hamelech St, Tel Aviv (03-6927777)
Check out the event HERE.