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A Midsummer Night’s Dream
A Midsummer Night’s Dream
Pennsylvania Shakespeare Festival’s production is part of Shakespeare in American
Communities, a national program of the National Endowment for the Arts in partnership
with Arts Midwest.
The National Endowment for the Arts in
partnership with Arts Midwest presents
Shakespeare in American Communities.
Pennsylvania Shakespeare Festival is one of
40 professional theater companies selected
to participate in bringing the finest
productions of Shakespeare to middle- and
high-school students in communities across the United States.
The Linny Fowler WillPower Tour is
made possible through a generous gift
from
Beall and Marlene “Linny” Fowler And these generous supporters:
Richard H. & Karen Albert
American Bank
Jim & Terri Bartholomew
The Century Fund
DeSales University
Embassy Bank
Chris Coucill & Liz Fillo
The Gadomski Foundation
John & Brenda McGlade
Kathleen Kund Nolan & Timothy Nolan
The Pennsylvania Council on the Arts
Corning & Dorothy Painter
Victoria Plaza
David B. & Patrina L. Rothrock
Darbin & Deborah Skeans
Barbra Barker & Jeffrey Schlamb
Shakespeare in American Communities:
National Endowment for the Arts in
partnership with Arts Midwest
Brenda Shahpari-Azar
Sara Ann Thomas
The Harry C. Trexler Trust
Tom & Elaine Whalen
Anonymous (2)
4
Our performance of A Midsummer Night’s
Dream is designed to energize and inspire
your students - instilling a greater
understanding and appreciation of theatre,
Shakespeare, and language, both spoken and
written. The post-show discussion allows students to directly connect with the
actors/teachers. For schools that have
contracted for the full-day program,
workshops provide students with activities
which illuminate the vitality of Shakespeare’s
words and characters in a highly engaging
experience.
This study guide gives you information and
activities specific to this production of A
Midsummer Night’s Dream which is designed to give young people a fresh view on a classic
work. There is also information and
resources on Shakespeare’s life, language,
and theatre. We will bring all our skill,
passion, and artistry to the task. We hope
you and your students enjoy, and will be filled
with, WillPower!
PREPARING STUDENTS 5
WILLIAM SHAKESPEARE Who Was This Guy? 6
Shakespeare’s England 7
Shakespeare’s Theatre 9
Timeline 10
Shakespeare’s Language 11
Quotes: On Shakespeare 12
A MIDSUMMER NIGHT’S DREAM
Characters in Midsummer 13
Synopsis of the Play 14
WillPower Actors 16
Performance Guide 18
Shakespeare’s Inspiration 20
Shakespeare Inspires 21
The Play in Performance 22
The Text 23
The Fairies of Midsummer 24
CLASSROOM EXERCISES Introducing Midsummer 25
As You Study Midsummer 26
Before the Performance 28
During the Performance 29
After Reading or Seeing Midsummer 31
More Activities to Introduce the Play 34
More Activities to Explore the Play 35
CHARACTER QUIZ 37
RESOURCES WE LOVE 38
OPPORTUNITIES AT PSF 39
MEETING THE STANDARDS 41
5
What can we do in class to prepare? We know time is tight in the classroom. You might be spending several weeks on A Midsummer Night’s
Dream, or you may be hosting WillPower in the middle of a completely different unit. In both cases,
this guide is designed with you in mind. We’ve included resources that can work for an extended study
of the play, a quick introduction the day before the performance, and everywhere in between. Here
are some key things you can do to prepare.
Introduce the Plot
The single most helpful thing you can do for your students before the performance is
introduce the story. Don’t worry! The experience of seeing the play will not be spoiled by knowing
the ending. Instead, familiarizing students with the plot ahead of time will allow them to enjoy the
action and language without worrying about following the plot. Our synopsis is on page 14, and there
are several video links on our resources page (38) that summarize the story.
Get to Know the Characters
Shakespeare liked to create a big cast of characters, whose personalities are as detailed and diverse as
our own. Their names can be unusual, so we recommend reviewing who is who before the play. See
page 13 for a list of characters and page 16 to see how we perform the play with just nine actors. If
you are reading the play, use our casting activity on page 26 to guide your character exploration as you
read. If you only have a day to prepare, see pages 18-19 for a helpful infographic of the actors,
characters, and plot.
Explore the Big Ideas
We continue to read and perform Shakespeare’s plays because they grapple with the big questions we
still ask ourselves today. That means you don’t need to be a scholar to talk about the play’s themes!
Check out page 34 for activities that speak to the big ideas of the play. Whether you are reading the
play or not, these are a great way to draw students into the story.
Introduce the Language
At first, our modern ear can be overwhelmed by the richness and complexity of Shakespeare’s text. If
you listen closely, however, and give yourself a few minutes to adjust, the language will begin to reveal
its exceptional beauty. See pages 34 for a quick activity to introduce the language, and page 35 and 36
for a deeper exploration of the text.
Play Your Part
Finally, spend a few minutes preparing your students for their role in the play: the audience! Whether
your students are seasoned theater-goers or getting ready for their first play, it’s smart to talk about
what to expect. Check out our audience member resource on page 28 to guide your discussion and
prepare for your performance.
6
Our knowledge of William Shakespeare’s life is pieced
together from limited primary sources for information:
his own works, various legal and church documents, and
references to him, his plays, and his genius in third-party
letters. Here’s what we do know:
William Shakespeare was born in Stratford-upon-Avon
on or about April 23, 1564. Records from Holy Trinity
Church tell us he was baptized there on April 26, 1564.
His father was John Shakespeare, a glove-maker, and his
mother was Mary Arden, a land-owning heiress. William
was the third of eight children, three of whom died in
childhood. His father was fairly successful and was an
alderman and a high-bailiff (mayor) of Stratford.
It is assumed that he went to the free grammar school in Stratford, which was considered an excellent
school. It seems certain that Shakespeare never went on to University.
The next documented event is Shakespeare’s marriage to Anne Hathaway on November 28, 1582.
They had three children: a daughter, Susanna, and twins, Hamnet and Judith. Hamnet died at age 11.
We lose track of Shakespeare for the next seven years. There are rumors that he was fond of
poaching and had to flee Stratford after an incident with one of the gentry there. He began to make a
name for himself in London by 1592, possibly earlier, as both an actor and a playwright. Unfortunately,
the plague forced the closing of the theaters in 1592. By 1594 the plague had abated, and Shakespeare
was acting, writing, and performing the duties of a managing partner for the Lord Chamberlain’s Men.
This was a popular company, enjoyed by the commoners as well as royalty. It was around this time that
Shakespeare and company made plans for the Globe Theater. The Globe was to be across the river
from London, and was built around 1599. In total, Shakespeare wrote 37 plays that have survived (or
38, depending on the point of view of the particular scholar) and numerous sonnets and poems.
April 23, 1616 is the day that marks Shakespeare’s death
(the same as his birthday!) though we are uncertain of that
date’s precision. We do know he was buried in Stratford,
with services at the Holy Trinity Church on April 25, 1616.
In his infamous will, he left his properties to his daughter
Susanna, and to his wife his “second best bed.”
7
Elizabeth I was one of the most popular and
longest-reigning monarchs in English history
(1558 - 1603). Images of her curly red hair
and her reputation for possessing a shrewd
political mind are well-known to us through
books, movies, and works of art. Elizabethan
England was a time of great literary and
artistic flowering, as well as royal turmoil and
global conquest.
Elizabeth I presided over a country rocked
by nearly a century of religious upheaval.
The country had endured radical ideological
shifts, accompanied by public persecutions,
as each new monarch took the throne.
Elizabeth was the daughter of Anne Boleyn
and the infamous Henry VIII of England. She
became Queen of England at the age of 25
after her half-brother and half-sister had
each briefly reigned and died. Her sister
Mary's reign had been particularly brutal and
violent.
Nonetheless, the age of Shakespeare was a
great time in English history. The reign of
Elizabeth saw England emerge as the leading
naval and commercial power of the Western
world with the defeat of the Spanish Armada in 1588, and she firmly established the
Church of England (begun by her father,
Henry VIII, after a dispute with the Pope).
At this time, London was the heart of
England, reflecting all the vibrant qualities of
the Elizabethan Age. Its dramatists and poets
were among the leading literary artists of the
day. London’s population grew 400%,
swelling to nearly two hundred thousand
people in the city proper and outlying region
by the time a young man named Shakespeare
came to town.
In addition to attending the public theatres,
the Elizabethan people engaged in sports:
soccer, swimming, fishing, bowling, wrestling,
and tennis. The people of a town would also
gather together on holidays for huge parties
and festivals, particularly on All Hallow's Eve (Halloween) and the Twelfth Night of
Christmas.
One rather morbid pastime of Elizabethan
England was watching the public punishments
of criminals. In many towns, the stocks were
permanent fixtures where felons would be
locked into place for the mockery and
torment by the townspeople. Public
executions were also well attended. Bear
baiting and cock fighting were other popular
and gruesome sports.
What revels are in hand? Is there no play, To ease the anguish of a torturing hour?
-Theseus, Act 5
8
During the Elizabethan period, table manners
were very different than they are now. Even
noble people would throw bones on the
floor when they were finished, and forks
were a rarity at any table. Bread and meat
were the two most important staples of the
English diet. They also enjoyed a lot of wine
and cheese but ate very few fruits and
vegetables.
This poorly balanced diet was one cause of
the many illnesses that swept through
Elizabethan England. Sicknesses resulted
from malnutrition and improper cooking
habits. Also, smallpox and syphilis were
common afflictions passed from person to
person. But the major cause of death during
Elizabethan England was the plague known as
the Black Death, which flooded all of Europe.
It was carried by the rats living in the streets.
People used herbal remedies for many
ailments, but unfortunately, only the very
rich were able to afford doctors or
apothecaries.
The fashions of both men and women were extravagant and complicated. Men and
women alike were very hair-conscious; they
spent a lot of time and money getting their
hair dyed red or blond (the most fashionable
colors). Men would trim and style their
beards, and women wore their hair in
combs, nets, or jeweled pins. At the time, a
high forehead was considered very
attractive, so women would pluck the hair
from their front hairlines. Both sexes wore
wigs, especially when they lost their own hair
or if it turned gray.
In terms of clothing, women wore very long
dresses that dragged on the ground, and
their bodices were very tightly-laced and
came to a point at the waist. The sleeves
were puffy around the shoulders and tight
around the lower arms. Very large ruffles
around the neck were popular with both
men and women, and were considered a
status symbol for the upper classes. Men
wore shorter breeches or pants with brightly
colored stockings underneath to show off
their calves. Large, ornate jewels were worn
by both sexes, and were often so heavy that
it made dancing difficult.
9
In Renaissance England, theatre was an
important part of everyday life. Public
theatres were built in and around the city of
London and were open to all. The most
expensive seats were in the balconies but the
cheapest admission charge was for the
“groundlings,” the people who stood on the
ground in front of the stage.
In 1599 The Globe opened. It was an open-
air polygonal amphitheatre with many levels
and could seat up to 3,000 people. The stage
area was a large platform that jutted out
from the building and allowed for the
audience to surround it on three sides.
There was no curtain in front of the stage.
A curtained area at the back of the stage
could be opened to reveal another room, or
some kind of surprise. Above this area was a
balcony. This would be a place for kings to
address the masses or perhaps for Juliet to
talk to Romeo. Below the stage was a trap
door that was used for special effects
(Shakespeare was very fond of ghosts!).
Behind the stage was the “tiring house,” a
place where actors changed costumes and
could rest between scenes.
This open-air theatre was dependent on natural lighting and good weather.
Costumes and props (like guillotines,
ladders, crowns, etc.) may have been
extravagant in some cases. The set did not
change from
show to show.
When the play
was to shift
location the
spoken lines
set the scene
(“How dark is
this night!”).
They did use
music and
many sound effects such as cannons and
drums. Many plays also had songs.
Men played all of the roles - In Shakespeare’s day, females were not allowed on the stage (until after 1660). Now, women often play roles originally written for men.
Shakespeare trusted the audience’s imagination, and so do we.
Actors played many parts - At the Globe, an actor might have played seven parts in a
single play! Our actors also double up. It is fun for them and the audience to see them
play multiple roles.
One fixed set - Like Shakespeare’s company, WillPower uses a few pieces of scenery, such as benches and thrones to imply a new location, but mostly we trust the descriptive
language to change the scene.
No lighting design - As with the set, the lighting did not change with each scene (unless
the sun went behind a cloud!)
No intermission - Shakespeare often didn’t have an intermission, and neither do we.
Shakespeare used music - Unfortunately, on the tour we can’t bring live musicians like
Shakespeare. But we do use recorded music to create moods and help tell the story.
10
1564 William Shakespeare and Galileo are born.
1565 Pencils are first manufactured in England.
1567 Two comedies are performed at a Spanish mission in Tequesta, Florida
1576 The first playhouse in England is run by James Burbage.
1588 Spanish Armada is battered by the English
1589-91 Henry VI, Part 1 becomes William Shakespeare's first play to open onstage.
1595 Shakespeare writes Romeo and Juliet.
1596 Shakespeare's A Midsummer Night's Dream is completed.
1599 The Globe Theatre is built. Shakespeare writes Julius Caesar.
1600 Shakespeare writes Hamlet.
1603 James VI of Scotland rises to the English throne after
the death of Elizabeth I, uniting England and Scotland
under one crown and takes the new name, James I.
1605 Miguel de Cervantes publishes Don Quixote.
1605-6 Shakespeare writes Othello, King Lear, and Macbeth.
1607 Jamestown, Virginia is founded.
1609 Johannes Kepler establishes that the planets move in
an elliptical path around the sun; Galileo builds his first
telescope.
1611 The King James Bible is published.
1614 English settler John Rolfe marries Pocahontas, the daughter of a Native American chief.
1616 William Shakespeare and Miguel de Cervantes both die.
1623 Publication of the First Folio.
11
The English language and vocabulary were expanding rapidly in Renaissance and Elizabethan
England. Several factors contributed to this:
Scientific progress
Rediscovery and publication of classical texts
Prized social skills to offer stirring praise or stinging insults
Interest in foreign languages
Publication of The King James Bible (1611) – approximately 8,000 different words.
An average person might make use of 17,000 words in a lifetime.
Shakespeare used more than 34,000.
It has been said that Shakespeare invented, or was the first to commit to print, 1,700 words in
writing his plays, sonnets, and long poems.
Here are some words and phrases that first appeared in print in Shakespeare’s
A Midsummer Night’s Dream.
Amazedly…Batty...Beached…
Bedroom…Critical…Derived…Dewdrop…
Estate…Eyeballs…Fairyland…
Far-off…Kissing…Mimic…Moonbeams
Sanded…Squash…Swagger…Tangled…
Undistinguishable
12
“My advice to anyone seeing Shakespeare:
Don’t worry so much! Just make sure your ears are clean and your eyes are sharp.
Listen and look and watch.
Look at the distance people stand from each other;
Look at the relationships being developed.
Stay with it. Don’t negate the move that
Shakespeare will make toward your gut, toward your soul –
Because he will touch you there,
If you allow yourself to be touched.” David Suchet, actor
“But Shakespeare's magic could not copied be;
Within that circle none durst walk but he.”
- John Dryden
“What point of morals, of manners, of economy, of philosophy, of religion, of
taste, of the conduct of life, has he not settled? What mystery has he not
signified his knowledge of? What office, or function, or district of man's work,
has he not remembered? What king has he not taught state, as Talma taught
Napoleon? What maiden has not found him finer than her delicacy? What
lover has he not outloved? What sage has he not outseen? What
gentleman has he not instructed in the rudeness of his behavior?”
Ralph Waldo Emerson
“It was Olivier’s Henry V that made
me realize that Shakespeare is
about real people and that his language
wasn’t simply beautiful poetry.”
Robert Brustein
“Soul of the age! The applause, delight and
wonder of our stage!
He was not of an age,
but for all time!
And all the muses still were in their prime,
When like Apollo he came forth to warm Our ears, or like a Mercury to charm!
Sweet swan of Avon.”
- Ben Jonson, Elizabethan Playwright
“Just plunge right in (to Shakespeare). See a play, read it aloud, rent
a video, listen to a tape. It’s up to you. When
you look at Shakespeare close up, he’s not as
intimidating as when he’s seen from afar.” Norrie Epstein, The Friendly Shakespeare
“A young man from a small provincial town –
a man without wealth, without powerful
family connections and without a university education
– moved to London in the late 1580’s and in
remarkably short time, became the greatest playwright
not of his age but of all time. His works appeal to the
learned and the unlettered, to urban sophisticates and
provincial first-time theatergoers. He makes his
audience laugh and cry; he turns politics into poetry;
he recklessly mingles vulgar clowning and
philosophical subtlety.” Stephen Greenblatt, Contemporary Scholar
13
A Midsummer Night’s DreamThe Court & Lovers
Theseus – Duke of Athens
Hippolyta – Queen of the Amazons, betrothed to Theseus
Egeus – a nobleman and father to Hermia
Hermia – daughter of Egeus and in love with Lysander
Lysander – in love with Hermia
Demetrius – in love with Hermia (and Egeus’s choice for his
daughter)
Helena – in love with Demetrius
Philostrate – Master of Revels at Theseus’s court
The Fairies
Oberon – King of the Fairies
Titania – Queen of the Fairies
Puck – attendant to Oberon
Peaseblossom – attendant to Titania
Cobweb – attendant to Titania
Moth – attendant to Titania
Mustardseed – attendant to Titania
The Mechanicals
Peter Quince – a carpenter
Nick Bottom – a weaver
Francis Flute – a bellows-mender
Tom Snout – a tinker
Snug – a joiner
Robin Starveling – a tailor
14
ACT 1 “The course of true love never did run smooth.”
The play begins with Duke Theseus and Hippolyta, queen of the Amazons, preparing for their
wedding when Egeus interrupts the court with a complaint. Egeus has decided that his daughter,
Hermia, will marry Demetrius, but Hermia has refused because she is in love with Lysander.
Theseus gives Hermia three options: she can marry Demetrius, become a nun, or be put to death.
To escape her punishment, Hermia and Lysander make a plan to meet in the woods to run away
and get married. Hermia confides in her best friend, Helena, who is infatuated with Demetrius.
Helena tells Demetrius the secret in hopes of gaining his affections, and they enter the forest to
follow Hermia and Lysander. Meanwhile, a group of workmen, led by Nick Bottom, plan to
rehearse their play Pyramus and Thisbe, in the forest later that night.
ACT 2 “How now, spirit? Whither wander you?”
In the forest, Oberon and Titania, the King and Queen of the Fairies, fight for custody of a
changeling boy that Titania has adopted. Planning to play a trick on Titania, Oberon sends his
servant, Puck, to find a flower that, when squirted into a sleeping person’s eyes, will make them
fall in love with the first person they see. During this time, Oberon witnesses Demetrius reject
Helena and orders Puck to enchant Demetrius. Puck mistakes Lysander for Demetrius and when
Helena stumbles upon a sleeping Lysander, he becomes smitten. Helena believes that Lysander is
playing a cruel joke and runs away. Lysander pursues her further into the forest and when Hermia
wakes up alone, she races off to find him.
ACT 3 “Lord, what fool these mortals be!”
Puck finds the actors, who happen to be close to where Titania is sleeping, and hatches a
mischievous plan. He transforms Bottom into an ass (donkey). The other actors are terrified
and run away, but when Titania wakes up, she instantly falls in love with him. Puck returns to
Oberon, who praises his servant, until he sees that Demetrius is not under a spell and still
pursuing Hermia. Oberon remedies the situation by squeezing the flower’s juice in Demetrius’s
eyes. When Demetrius wakes up, he sees Helena and falls in love with her. Hermia finds Helena
and asks for an explanation, but Helena attacks her, believing that Hermia is part of the joke. As
the women fight, Lysander and Demetrius duel for Helena’s affections. Having been warned by
Oberon to keep the four lovers apart until the mistake can be fixed, Puck tricks Lysander and
Demetrius into chasing his voice through the forest until all four lovers collapse. Puck is then
able to reverse the charm on Lysander’s eyes.
15
ACT 4 “I have had a dream, past the wit of man to what dream
it was.”
Oberon finds Titania with Bottom and reverses the spell on her. She awakens, stunned to find
herself beside an ass. The Fairy King and Queen reconcile as day breaks. Theseus and his court
enter the woods to hunt, and instead find Helena, Hermia, Demetrius, and Lysander. Demetrius
is still under the spell, so when Egeus demands that he marry Hermia, Demetrius tells the group
that his love for Hermia has vanished and his heart now belongs to Helena. They all return to
Athens to get married and Bottom wakes up, transformed back into a human, convinced that the
night was merely a dream.
ACT 5 “…That you have but slumbered here while these
visions did appear.”
The marriages take place, along with a performance of Pyramus and Thisbe, which is a
delightful disaster. As the couples leave, Puck tells the audience that if they haven’t
enjoyed the play, they should just think of it as a midsummer night’s dream.
16
Iman Aaliyah (Hermia/Snout) is excited to work with PSF. She has
appeared in numerous PA productions such as Camelot: Cartons of
Ultrasounds; Coriolanus; Running Numbers; and Pocatello to name a
few. Iman's performed in staged readings as well as workshops for new
plays. Iman is a Maryland native and graduated from the University of
the Arts with a BFA in Acting. For more info: @Musiclovespoetry
www.ImanAaliyah.com
Eunice Akinola (Titania/Hippolyta) is a first-generation woman from
Texas. She recently graduated from Ithaca College's BFA Acting
program 17” and now resides in Philadelphia. She can best be
described as an advocate for equal representation and self-care, in and
outside of theatre. Previous works include Antony in The Shakespeare
Project, Juliet in Shakespeare’s R&J, Emily in Third, and Wife in Blood
Wedding. Upcoming works include Cordelia in King Lear with the
Quintessence Theatre Group.
Brian Baylor (Oberon/Theseus) is thrilled to be working with
Pennsylvania Shakespeare Festival on the WillPower tour for the first
time. He holds a BFA in Musical Theatre, which he received while studying in his native home of southeast Michigan, and is now
relocating to NYC. Favorite professional credits include: A Midsummer
Night's Dream, Peter and the Starcatcher, The Addams Family, The Comedy
of Errors, The 25th Annual...Spelling Bee, Bright Star Black History Tour.
Amy Rose Johnson (Helena/Snug) is excited to give beauty back to
the community after an exhilarating summer with the Pennsylvania
Shakespeare Festival. Favorite credits: The Witch in Into the Woods, Lindsay/”Bless the Lord” in Godspell (DeSales University Act 1); Fabian
in Twelfth Night, The Duchess in Alice in Wonderland (PSF), and
Veronica in Heathers. Amy is a proud graduate of DeSales University,
where she studied musical theatre.
Dane McMichael (Lysander/Flute) is a graduate of DeSales Acting and Directing program, and couldn’t be happier to be a part of the
Willpower Tour. In addition to his on-stage, on-camera and
screenwriting experience at DeSales, Dane has spent the past five
summers working professionally on the PSF stage as an actor, singer,
dancer, puppeteer and combatant in productions ranging from Les
Misérables, to Richard II. He is also an aspiring fight director and world-traveler.
17
Tokunbo Joshua Olumide (Demetrius/Starveling) Born in
Framingham Massachusetts, Tokunbo Joshua Olumide (a.k.a Josh)
started pursuing an acting career in his junior year of high school. That
same year, he was cast in his school play, which solidified the decision
to become an actor. He received his very first credit in the movie
Detroit. Wanting to learn more about acting, he enrolled into The
American Musical and Dramatic Academy in the Fall of 2016.
Bailey Roper (Puck/Philostrate) Off-Broadway: Galatea (WP Theater)
Regional: I’m Not Myself Today (Plant Me Here), Twelfth Night
(Shakespeare Clark Park), The Last Door (Orlando Fringe), Midsummer
Nights Dream (Puck u/s, Arden). Bailey has a BFA in Acting from
University of the Arts class of 2016. baileyroper.com
Bo Sayre (Bottom/Egeus) is happy to be back at PSF after graduating
from DeSales University this year. This summer, he was on the PSF stage
playing the Mad Hatter in Alice in Wonderland, Stanford White in
Ragtime (also u/s Henry Ford), Robin, Lambert, and Guard in
Shakespeare in Love (also u/s Burbage), and Marshall and Scroop in King
Richard II. He has also been a part of PSF’s Troilus and Cressida, Evita,
Julius Caesar, Love’s Labour’s Lost, Pericles, and Les Misérables.
Emily Song Tyler (Quince/First Fairy) is thrilled to return to PSF
after last appearing in Hamlet! Regional: A Christmas Carol (Geva
Theatere Center). National Tours: Paw Patrol Live!
(Nickelodeon/Cirque de Soleil), Miss Nelson is Missing (TheaterWorks
USA). New York: Measure for Measure and Henry IV, Part 1 (Hip to
Hip), A Chorus Line, Titus Andronicus. Film/Television: Healthy You
(WXXI), Prized Progeny. AMDA NY graduate.
Jessie Higgins (Stage Manager) is excited to be working with
Pennsylvania Shakespeare Festival and the 2018 WillPower Tour.
Favorite Stage Management and Production Assistant credits include
Hi, Are You Single?, Ken Ludwig’s Baskerville: A Sherlock Holmes Mystery,
Clybourne Park (Cleveland Play House), Liars, WonderFest (Children’s
Theatre of Charlotte), Heathers: High School Edition, Beauty and the Beast, Vanya and Sonia and Masha and Spike (Stagedoor Manor). Jessie
is a member of the Actor’s Equity Association’s EMC Program.
A Midsummer Night's DreamAt first....
Lysander
Hermia and Lysander are in love. Demetrius loves Hermia, too. Helena loves Demetrius, whodoesn't love her back...
Hermia DemetriusHelena
...and Oberon and Titania are mad at each other.
But then...Oberon Titania
Puck and Oberon use magic to play a trick on Titania, making her fall in love with an actor,Nick Bottom, whose head has been changed into a donkey's head!
Titania Nick Bottom
Puck
Hermia
Puck also uses magic to make Demetrius love Helena,but both Demetrius AND Lysander fall in love with her.
Hermia is left out.
LysanderDemetrius Helena
Performance Guide WillPower 2018
Finally...Oberon and Puck undo some of the magic, and everyone pairs off.
Lysander & Hermia
Demetrius & Helena
Titania & Oberon
Nick Bottom and his friends practice for a play. They are not professional actors. Some are toonervous, and some are too confident. The play is supposed to be serious, but it turns out silly.The actors play goofy roles, like the moon, a wall, and a lion.
...and while all of that is happening...
Starveling as Moonshine
Flute as Thisbe
Snout as WallSnug as Lion
Bottom as Pyramus
Quince as Prologue
20
With any work of art, there is always a seed
of inspiration: A germinal idea that grows
into a painting, a dance or a play. Sometimes,
after being influenced by particular works,
writers and playwrights will adopt elements
of such works and fashion them into their
own story.
Shakespeare was known for taking
inspiration from other authors; several of his
most famous plays were adaptations of older
stories. In writing A Midsummer Night’s
Dream, however, Shakespeare expanded his
horizons and borrowed ideas from folklore
and myths as well as other authors.
In Shakespeare’s day, fairies played a large
role in English folklore. Many of Puck’s
tricks and pranks played into the
superstitions of the era. His ability to shape-
shift and the way he and the other fairies
meddle in human affairs were common
notions held about fairies back then. Puck,
himself, was a devilish fairy that Shakespeare
borrowed from mythology that English
audiences knew well.
Theseus, the Duke of Athens, is a character
Shakespeare took from Greek mythology.
Shakespeare probably learned about
Theseus from the English translation of
Plutarch’s Live of Noble Grecians and Romans,
which depicts Theseus as a heartbreaker
and a fearless warrior, who slayed the half-
man, half-bull Minotaur. In A Midsummer
Night’s Dream, Shakespeare doesn’t focus on
Theseus’ heroic past, but takes inspiration
from another writer, Geoffrey Chaucer. In
Chaucer’s “The Knight’s Tale,” Theseus has
been domesticated and is preparing for his
wedding to Hippolyta. Similar to A
Midsummer Night’s Dream, Theseus must
deal with unrequited lover as two prisoners
fall in love with the same woman and
escape into the woods to duel for her love.
The origins of Shakespeare’s four lovers-
Hermia, Lysander, Demetrius and Helena-
cannot be traced back as clearly, but they
still would have looked familiar to the
Elizabethan audience. The Pastoral drama
was a popular genre when Shakespeare was
writing and was characterized by characters
fleeing society in favor of living in the
forests for a different, simpler life.
Many agree that the Mechanicals were inspired by Shakespeare’s acting troupe and
that Bottom and his crew were entirely
original creations by the playwright. Will
Kempe, the actor who originated Bottom,
also was the first to play Dogberry in Much
Ado About Nothing and originated the role of
Falstaff.
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Artists have always been interested in
reinventing Shakespeare. They are as
inspired by him as he was by the artists who
came before him. Since its premiere in 1596,
A Midsummer Night’s Dream has been re-
envisioned in music, opera, dance, and film.
In 1692, composer Henry
Purcell and librettist,
Thomas Betterton wrote
a full length opera, The
Fairy Queen, based on the
play. They shifted the focus
to the fairies and
modernized a great deal of
Shakespeare’s original text.
In 1843, a composer named
Felix Mendelssohn created
his own score for the play.
His beautiful arrangement
and unique musical themes
inspired lavish stagings of
Shakespeare’s classic.
Another opera, written
by Benjamin Britten in
1960, has also seen great
success since it first premiered.
In 1906, Rudyard Kipling (author of The
Jungle Book) published Puck of Pook’s Hill. The
story features Puck (who declares himself
“The oldest Old Thing in England”) creating
mischief in the British countryside.
In 1962, choreographer George Balanchine
created a two act ballet of A Midsummer
Night’s Dream. The ballet was set to Felix
Mendelssohn’s original composition, but
Balanchine used other music by Mendelssohn
as well.
A Midsummer Night’s Dream has also been
repeatedly adapted for film. While stage
directors in the twentieth century
moved away from over-the-
top sets, movie directors
were able to capitalize on
the show’s ethereal quality.
It was first adapted for the
screen in 1909, when it
was turned into a silent
movie.
In 1935, Max Reinhardt’s
film adaptation featured
hundreds of tiny fairies
flying around with
glowing lanterns and
starred a young Mickey
Rooney as Puck.
Michael Hoffman’s 1999 film
adaptation starred Christian Bale
(Batman in The Dark Knight Trilogy) as
Demetrius and Stanley Tucci (Caesar
Flickerman in The Hunger Games) as Puck.
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To this day, historians still debate the exact date of the premiere of A Midsummer Night’s Dream;
it was most likely performed at an aristocratic wedding in 1596, but the actual date remains
unknown.
In 1642, during the English Civil War, the play underwent many changes. Audiences experiencing
the chaos of war firsthand did not wish to see it on stage, so the fairies and lovers were cut from
the script and A Midsummer Night’s Dream became The Merry Conceited Humors of Bottom the Weaver.
In 1755, the play was reimagined by famous London actor/director David Garrick, who kept the
fairies, but cut the Mechanicals. Garrick’s version used less than 600 lines from Shakespeare’s
original, but included lines from some of Shakespeare’s other plays.
In the nineteenth century, the fairies remained the stars of the show. In 1840, an English
actress/theatre producer, Mme. Lucia Vestris, staged the show and played the Fairy King, Oberon,
beginning a longstanding tradition of women playing the part.
Over-the-top productions, based on Felix Mendelssohn’s 1843 composition, became the fashion.
His score inspired astounding sets and extravagant performances. Directors created lush forests
on stage and one rendition even featured live rabbits hopping across the stage!
With the advent of World War I, these over-the-top productions were replaced by darker
adaptations. In 1914, director Harley Granville-Barker staged a haunting, dark production that
was designed to highlight the play’s mischief, power struggles, and violence.
German director, Bertolt Brecht, staged A Midsummer Night’s Dream with very little scenery and
constantly reminded his audience that the fairies’ magic was actually the magic of the theatre.
In 1938, Sir Tyrone Guthrie employed a technique that many now use when producing
Shakespeare; he set it in Victorian England, rather than the Elizabethan period.
In 1970, Peter Brook directed his own production of A Midsummer Night’s Dream. Brook’s set
was practically non-existent. His direction left “setting the scene” entirely up to the actors, the
way they would have in Shakespeare’s time. The show received rave reviews.
A Midsummer Night’s Dream has been continuously adapted and performed since it premiered
over 400 years ago. It continues to fascinate directors and actors and each strives to bring
something new to the table. The play continues to delight audiences and provides an
opportunity for us to examine the world we live in today in relation to the world of
Shakespeare and the Elizabethans.
23
No copies of plays written in Shakespeare’s hand have survived, as far as we know. In fact, the
only surviving writings believed to be in his hand are four signatures.
In Shakespeare’s time, plays were not considered literature, and if they were published, it was
done cheaply in a small book called a “quarto.” If the plays were viewed as literature worthy of
publication, then they were published in an oversized book called a “folio.”
A Midsummer Night’s Dream, as we know it today, was first published in “The First Folio” in 1623,
seven years after Shakespeare’s death. Just about half of his plays were first published in this Folio
volume. Elizabethan playwrights often didn’t want to publish their works because rival theatre
companies could then present them without paying any royalties, jeopardizing the livelihood of
the playwright’s own company.
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The fairies of A Midsummer Night’s Dream are among the most magical characters that
Shakespeare penned. While fairy stories and folklore were commonplace in Shakespeare’s time,
Shakespeare’s depiction of fairies was revolutionary.
In traditional folklore, fairy stories were cautionary tales. The English believed that fairies were
shape-shifters who lead humans to humiliation, as in A Midsummer Night’s Dream. They believed
that fairies often meddled in human affairs and told folk stories to caution each other against
carelessness. Shakespeare’s plays changed the popular opinion of fairies; they were tricky, but
not malicious.
Oberon and Titania – The King and Queen of the Fairies
Oberon’s name means “powerful elf.” Titania means
“woman of the Titans.” In Greek mythology, the Titans
were older than the gods, and extremely powerful.
Puck
Puck, also known as Robin Goodfellow, was a legendary
fairy before A Midsummer Night’s Dream. Many ancient
languages had similar names for this tricky sprite: “Puca” in
Old English, “Puki” in Old Norse, “Puke” in Swedish and
“Puks” in Low German. The original meaning of his name was “demon” or “devil.” He was a shape-shifter who
enjoyed leading travelers astray and causing mayhem. Puck
appears in writings as early as 1588, but A Midsummer Night’s
Dream marks a change in his popular portrayal; after the
play was published, Puck was no longer seen as an evil
sprite, but as a playful, childish trickster.
Peaseblossom, Cobweb, Moth, and Mustardseed – Attendants to Titania
Each of these four fairies is named after a common household remedy in Elizabethan times.
Most of their medical knowledge came from the Greeks and Romans, and they used herbs to
cure their illnesses. Peas were used to treat a variety of ailments, cobwebs were placed on cuts
to stop bleeding, the common night moth was used externally to treat sores as well as
internally to treat bladder problems, and mustard seed was crushed into a paste and used as a
pain reliever on sore muscles.
The Changeling
Elizabethan tradition held that fairies would steal human babies and replace them with fairy
children. The fairy children would grow up as humans in the mortal world, but their true nature
was eventually revealed by strange abnormalities.
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The dramaturg is an important person in the rehearsal process that helps everyone else
understand the story. They might help the playwright revise dialogue to make the plot clearer.
If the play was written many years ago, the dramaturg will research historical events that
influenced the playwright. The director might ask them about the unfamiliar culture of the
people of the play, and actors will come to the dramaturg when they don’t understand a word
or custom. Dramaturgs are great at research and know a lot about the structure of a good play.
Dramaturgy can help you read a play in class, too. Individually or in small groups, research the
following topics. Present your findings to the class. As you read, discuss how each item might
have influenced the playwright, the values and lifestyle of the people in the play, or how a
theater company might present A Midsummer Night’s Dream.
1. Research famous productions of A Midsummer Night’s Dream. What do they have in common?
What is different? What type of actors are cast as Lysander? Puck? Helena? What time periods
are the productions set in? What does that tell you about the kind of story you are about to
read or see?
2. Check out our list of characters on page 13. The “mechanicals” are a group of people who
are going to perform in a play. Research their professions. What does a tinker, joiner, or
bellows-mender do? What can you infer about these characters and their ability to act in a play?
Predict what their performance will be like.
3. Fairies and magic play important roles in this play. Research traditional and contemporary
examples of fairies. (See page 22 for ideas.) What did Elizabethans believe about fairies? What do we believe about fairies or other supernatural beings today?
4. What was it like to see a play during Shakespeare’s lifetime? Research the Globe Theater.
What structural features of the building would the actors have utilized during the first
production of A Midsummer Night’s Dream? What were the scenery and costumes like? Where
did the audience sit and what kind of people attended the theater?
5. In small groups, flip through the script and find two words that you are pretty sure no one
will know. Then, using the foot notes or a lexicon (if you have one) look up the definitions.
Next as a group make up two other believable definitions that your classmates might think is
the answer. First read the line in which the word appears out loud. Then read the three
definitions out loud, including the correct one. Then as a class, vote on the definition that you
think is correct!
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Before a play goes into rehearsal, the director must pick the right actor to play each character.
How does the director decide what kind of actor to cast in each role? They look for clues in
the script about each character’s looks and personality in what the character does, what they
say about themselves, and what other characters or the author say about them.
As you read, take notes about the characters using the chart below. When you have filled in
the first four columns, think of a celebrity who fits the description and cast them! Discuss your
casting decisions as a class. (If you aren’t reading the play, see page 29 to modify this activity.)
Character
What the character
says about himself
What others say
about the character
What the
character does
Potential
Actors
Hermia
Helena
Lysander
Demetrius
Oberon
Titania
Puck
Bottom
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A crucial part of putting on a play is attracting an audience to
enjoy it! The marketing department’s job is to create posters,
brochures, website content and other media to tell potential
theater-goers about the play and to entice them to attend a
performance.
A great poster design begins with a close look at the mood,
symbols, and themes of a play. For example, the mood of
Macbeth is fatalistic, so PSF’s poster for our 2014 production
features the ruins of a building and relies on dark colors.
Compare our posters for Pride and Prejudice and King John.
What do the colors tell you about the mood of each play? A
theme of Measure for Measure is doing what is right even
when you are the only person doing it- so the figure in our
poster is walking alone.
Define mood, symbol, and theme. Think about A Midsummer
Night’s Dream and the most important things an audience
member should know about the play. Design a poster using
the mood, symbols, and themes of the play.
Pride and Prejudice, 2011 King John, 2012 Measure for Measure, 2013
Macbeth, 2014
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Going to see a play is different than a movie or even a live concert. Here’s what to expect.
Our show is 80 minutes long, and there is no intermission.
o Be ready to be in the theater for a little while. Be sure to use the restroom
before the show, so you don’t miss anything!
The actors can see and hear you!
o They may talk to you or come into the audience during the show, so be ready to
interact with them.
o The cast can also hear you react to the show. Actors love to hear you laugh,
gasp, and clap during the show, but other noises like talking, phones ringing, or
watches beeping can be distracting.
If you have your phone, please turn it ALL THE WAY OFF (not just on
silent!) and silence anything else that might make noise during the show.
There will be lots of other students from different classes watching the
show with you today. Please be respectful and avoid talking during the
performance, so that everyone can hear the words. If you have a
question or thought, hang onto it for later! We want to hear what you
think AFTER the show!
o Remember, the more engaged you are, the better the show will be!
You only get one chance to see this show!
o You can’t rewind or re-watch this story, so make sure you don’t miss anything
by texting, doing other work, or talking to your friends. You will have plenty of
time and plenty to talk about after the show!
You will get to talk to the actors after the performance.
o After the show, the actors will stay to answer your questions. You can ask about
the show, acting, Shakespeare, or just about anything! Be ready with questions!
Finally, HAVE FUN!
o We are so excited to share this story and hope you have a great time today. If
you enjoy this play, come to PSF over the summer. Because your school saw
WillPower, you can see our summer plays for just $5 per ticket using your
school ID. We do musicals and non-Shakespeare plays, too!
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If you made any materials in preparation for the performance, bring them!
If not, check out the performance guide on page 18. It was designed just for this production and made
to be easily printed on a single, double-sided sheet of paper so you can bring it with you.
Character Captains Revisit the casting activity on page 26. If you will not read the play in class, you can also use the activity by assigning students a single character each to follow closely during the performance. What
does that character say about him or herself, what do others say about the character, and what does
the character do? Students can create a modified graphic organizer in a notebook and scribble notes
during or after the show. Afterwards, reconvene student to share their findings, and deepen their
understanding by casting familiar celebrities.
What’s My Line? Shakespeare’s plays contain some of the most famous lines in theater. Below is a list of lines from
Midsummer that help to set the tone, reveal inner thoughts, and move the story forward. Before your
performance, assign a line to each student. Use what you know about the story to predict where each
line comes in, who says it, and why it’s important. During the show, ask students to listen for their line
to discover its context, speaker and meaning. Reconvene after the show and ask each student to share
what they learned and perform their line for the group.
1. O, methinks, how slow/This old moon wanes!
2. I would my father look’d but with my eyes.
3. You have her father’s love, Demetrius;/Let me have Hermia’s: do you marry him.
4. The course of true love never did run smooth.
5. Call you me fair? that fair again unsay.
6. Love looks not with the eyes, but with the mind;
7. The raging rocks/And shivering shocks/Shall break the locks/Of prison gates;
8. Let me play the lion too: I will roar, that I will/do any man’s heart good to hear me;
9. Thou speak’st aright:/I am that merry wanderer of the night./I jest to Oberon and make him
smile/When I a fat and bean-fed horse beguile,
10. These are the forgeries of jealousy:
11. But she, being mortal, of that boy did die;/And for her sake do I rear up her boy,/And for her sake I
will not part with him.
12. Thou shalt not from this grove/Till I torment thee for this injury.
13. The juice of it on sleeping eye-lids laid/Will make or man or woman madly dote/Upon the next live
creature that it sees.
14. Do I entice you? do I speak you fair?/Or, rather, do I not in plainest truth/Tell you, I do not, nor I
cannot love you?
15. For you in my respect are all the world:/Then how can it be said I am alone,/When all the world is
here to look on me?
16. Nay, good Lysander, for my sake, my dear,/Lie further off yet, do not lie so near.
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17. What thou seest when thou dost wake,/Do it for thy true-love take,…Wake when some vile thing is
near.
18. And run through fire I will for thy sweet sake./Transparent Helena! Nature shows art,/That through
thy bosom makes me see thy art.
19. Not Hermia but Helena I love:/Who will not change a raven for a dove?
20. Wherefore was I to this keen mockery born?/When at your hands did I deserve this scorn?
21. Some one or other must present Wall: and let them hold their/fingers thus, and through that cranny
shall Pyramus/and Thisby whisper. 22. An ass’s nole I fixed on his head!
23. I see their knavery: this is to make an ass of me;/to fright me, if they could.
24. What angel wakes me from my flowery bed?
25. to say the truth, reason and/love keep little company together now-a-days.
26. The sun was not so true unto the day/As he to me: would he have stolen away/From sleeping
Hermia?/It cannot be but thou hast murder’d him;
27. What hast thou done? Thou hast mistaken quite/And laid the love-juice on some true-love’s sight:
28. Lord, what fools these mortals be!
29. Helena, goddess, nymph, perfect, divine!
30. O spite! O hell! I see you all are bent/To set against me for your merriment:/Can you not hate me, as I
know you do,/ But you must join in souls to mock me too?
31. Lysander, keep thy Hermia; I will none:/I e’er I loved her, all that love is gone.
32. Why seek’st thou me? could not this make thee know,/The hate I bear thee made me leave thee so?
33. Lo, she is one of the confederacy!/Now I perceive they have conjoin’d all three/To fashion this false
sport, in spite of me.
34. What, can you do me greater harm than hate?/Hate me! wherefore?
35. How low am I, thou painted maypole? speak;/How low am I? I am not yet so low/But that my nails can
reach unto thine eyes.
36. O, when she’s angry, she is keen and shrewd!/ She was a vixen when she went to school;/And though
she be but little, she is fierce.
37. Your hands than mine are quicker for a fray,/My legs are longer though, to run away.
38. Up and down, up and down/I will lead them up and down:
39. What visions have I seen!/Methought I was enamour’d of an ass.
40. I have had a most rare/vision. I have had a dream, past the wit of a man to/say what dream it was.
41. I know you two are rival enemies:/How comes this gentle concord in the world,
42. And all the faith, the virtue of my heart,/The object and the pleasure of mine eye,/Is only Helena.
43. And, most dear actors, eat no onions/nor garlic, for we are to utter sweet breath; and
I/do not doubt but to hear them say, it is a sweet comedy.
44. A play there is, my lord, some ten words long,…But by ten words, my lord, is too long,
45. With blade, with bloody blameful blade,/ He bravely broach’d is boiling bloody
breast;
46. You, ladies, you, whose gentle hearts do fear/The smallest monstrous mouse…,/May now
perchance both quake and tremble here,/When lion rough in wildest rage doth roar.
47. O dainty duck! O dear!
48. Now die, die, die, die, die.
49. If we shadows have offended,/Think you but this, and all is mended,/That you have but
slumber’d here/While these visions did appear.
50. Give me your hands, if we be friends,/And Robin shall restore amends.
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Questions for Essays and Discussion
As a member of the audience, YOU are a very important part of the play! In the same way that
you might talk about a new movie on the way home after seeing it, take some time to talk
about what you just saw. Here are some things to think about. It might be helpful to write about these questions before you discuss them, or hold a class discussion to prepare you to
write an essay about them!
Hermia is given a choice- marry a person she does not love, become a nun, or be put to
death. She chooses instead to elope with Lysander. Do you think she made the right
decision? What would you do? Why?
At the end of the play, Demetrius is still under a spell and ends up with Helena. Do you
think this is a good or bad thing? Would Helena be better off with someone who really
loves her? Would Demetrius be better off continuing to love Hermia? Why or why not?
Which character would you want to play? Which character would you not want to play?
Why?
Why is A Midsummer Night’s Dream still read and performed today? What is it about the
characters and story that keep us interested?
Several of our actors play more than one character. Pick an actor who plays two roles. What characteristics do the two roles share? In what ways are they different? How does
the actor differentiate between the two roles during the play? How successful was the actor
in making the roles distinct? What might you have done differently?
Discuss how the “rude mechanicals” played the roles of “wall,” “moonshine,” and “lion” during their play. What costumes, props, or movements did they use to represent each
thing? If you were telling that story, how would you do it differently?
Puck speaks one of the most famous lines in the play when he says “Lord, what fools these mortals be!” Why does he think the lovers are foolish? Do you agree? Why? Are the fairies
any LESS foolish than the mortals?
Another famous line is “the course of true love never did run smooth.” Do you
think this is true? Can you think of an example of “true love” that has had its
problems? Can you think of an example of “true love” that DID run smooth?
This story starts and ends in the city of Athens, but mostly takes plays in
the forest. Why do you think Shakespeare moved the story from the city to
the woods? What is different about these two locations? Who is “in charge”
in each place? How is it different for the four lovers? For Nick Bottom?
Shakespeare uses magic to drive the plot. Do you think magic is a force
for good or bad in this story? Why? Do you believe in fairies, witches, or any of
the other magical beings in Shakespeare’s plays?
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How are the characters different by the end of the play? Who changes? Who stays the
same? Why? Pick a character and trace how they grow or change during the story. Do they
change for better or worse?
A director is someone who decides how to tell the story of the play, and guides the work
of the actors, costume designer, and set designer. Consider our production of A Midsummer
Night’s Dream. To what extent do the costumes and set support the story? Do the
costumes tell you about the personality of each character? How? What do you think the
director was trying to accomplish with his choices? Did he succeed? What would you have
done differently?
Think about the title of the play. Why do you think Shakespeare chose to call it A Midsummer Night’s Dream? In what ways is this story dreamlike? Whose dream might this
be? Can you easily distinguish dream from reality in this story?
Helena laments, “Things base and vile, holding no quantity,/ Love can transpose to form and dignity:/ Love looks not with the eyes, but with the mind;/ And therefore is wing'd Cupid
painted blind.” Discuss what this quote means to you. Do you agree that love makes us
blind? Do you think it has the power to “transpose” ugly things into beautiful things? Is this
a good thing or a bad thing? Why?
The characters in this play fall into three main groups: the lovers, the fairies, and the
mechanicals. In what ways are these groups distinct from each other? How do you know?
How does Shakespeare use language to differentiate between the groups?
At the beginning of the play, Helena is left out of the group when both Demetrius and
Lysander love Hermia. Later, Hermia is left out when the men both love Helena. How
would you feel if someone you love suddenly stopped loving you? How would you feel if
someone who was mean to you suddenly started flattering you? What would you do in
Hermia’s situation? Helena’s?
Most of Shakespeare’s comedies include a fool or a clown. In Midsummer, Nick Bottom
plays the fool. In what ways is he foolish? In what ways is he wise?
Puck is a trickster who causes a lot of mischief during the story. Why is this fun to watch?
Can you think of any other characters who are always getting into trouble? What is it about
characters like this that make them so compelling?
What did you think of the mechanicals’ performance at the end of the play? Do you think those characters are good performers? Why or why not? Was their play entertaining? Why
or why not? Have you ever seen something so poorly done that it was actually entertaining?
Why do you think that was the case?
How would this play be different as a tragedy? How would it end? What would be different
along the way?
Now that you have seen a play by William Shakespeare, what did you think? How did it
compare with your expectations? If you read the play first, how was the experience of
seeing the play different from reading the story? What advice would you give to someone
reading or seeing a Shakespeare play for the first time?
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A critic is a person who judges the merits of an artistic endeavor. They give their opinion of what they saw and felt when they watched a production, saw a movie or heard a song. Everyone has
an opinion, and by writing a review, you have the opportunity to express yours.
As you write your review of A Midsummer Night’s Dream, use the
outline below as a guide.
1. Introduction. Start by telling the reader what play you saw,
who the playwright was and when and where you saw it. Tell
them what kind of show it was (drama, comedy, melodrama,
farce, etc.) and give them a brief synopsis of the play.
2. Tell your reader what you thought of the play.
Things to consider:
1. The Direction. The director is the person who, in the end,
is responsible for what you see on stage. They pick the
actors, design, costumes and staging for the show. Do you think that they did a good job? Were their choices
successful in creating an enjoyable performance? What did you think of the pacing of
the production – was it too fast or too slow?
2. The Acting. Discuss the acting. Did the actors make you believe in what they were
doing on stage? Did they make you laugh or cry? Which performances did you
particularly enjoy?
3. The Design. How did the design contribute to the production? What did you think of
the costumes and set? Did they make the play more enjoyable or were they
distracting?
3. Conclusion. Summarize your opinions – How did the play make you feel? How did your
reactions compare with the people around you (i.e. did they laugh at a joke you didn’t like?).
What did you particularly like about the production? Did it change your thoughts on theatre or
life? Did you learn anything new? You might conclude by considering if your appreciation of
theatre was developed by what you saw.
Remember to be specific as you write your review! Include as many details as you can.
Your audience wasn’t at the performance with you, so it is your job to tell them what you saw
and what they missed.
P.S. As a critic, it is ok to write down things that you didn’t like too. It’s your opinion!
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Activities to introduce the play
Step in Their Shoes The characters in Midsummer face situations not so different from our lives today. In groups, discuss how you
would react to the following scenarios. Or better yet, get on your feet and improvise the scene! Do this before
reading a synopsis.
Your parents don’t like the person you are dating, who is a musician. They want you to date a math whiz.
A group of guys are asked to put on a skit for anti-bullying month, but know nothing about drama. Some are
shy and don’t want to perform and one is a know-it-all who gives bad advice.
A girl finds out that her boyfriend is trying to cheat on her with her best friend, but the best friend has low
self-esteem and thinks he is making fun of her.
At the same party, the most popular girl at school accidentally rips her contact lenses then flirts with the
geekiest guy in school. Her ex-boyfriend and his friends watch from across the room.
Take a Stand You don’t need to read the play to discuss its big ideas. Put a line of painter’s tape on the floor down the center
of your classroom, and designate one side as “Agree” and the other as “Disagree.” Pose the following statements
to your students, and ask them to vote with their feet. Then ask a few students on each side to defend their
opinion. Revisit this activity after seeing the play and see if opinions change!
It’s worth sacrificing family to be with the one you love.
I value my parents’ opinions on who I date.
I value my friends more than my boyfriend/girlfriend.
Love makes us blind to the faults of the one we love.
Love makes us do foolish things.
Love at first sight is possible.
It is okay to use shortcuts to reach your goals.
When it comes to matters of love, trust your feelings.
Move Your Feet Shakespeare writes in iambic pentameter. Although those are big words they make reading Shakespeare easy and
fun to read. First you have to feel the rhythm! Take Helena’s speech in 1.1 (“How happy some”) and read it
silently. Count the number of syllables in each line -there may be a few lines that do not follow the strict 10
syllable rule, so don’t worry! Form a circle and walk as you read the lines out loud. Let the rhythm or the lines
set the pace for your circle. Don’t think too hard about this, just speak the lines and walk! Allow the rhythm of
the writing to affect the speed of your steps. Guess what? You’re walking in iambic pentameter! When you get to
the end of the line repeat, repeat, repeat.
Learn from the Past Countless artists have explored Midsummer since it was first written, each with different ideas about the world of
the play and the characters in it. Check out our resources page to find links to trailers from some of these
productions. How are they alike? How are they different? Watch several versions of Puck’s epilogue to get an
even better sense of how the story can be endlessly reimagined. (You will also find links to video summaries on
the resources page.)
Track Your Journey Start a bulletin board for A Midsummer Night’s Dream. This will be a place where you can add pictures, quotes, and
poetry that remind you of the characters, plot, events, and key objects of the play. Start off by putting pictures or
words that represent anything you may know or think you know about Midsummer before you read it. As you
progress through the play, add items to your bulletin board until it is covered with A Midsummer Night’s Dream
information! As you read, look for images of some of the play’s major symbols – the forest, a love potion, fairies,
etc. As you go deeper into the play, periodically discuss your additions to the board.
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Activities as you study the play
Lover Diagram Confused by all of the lover relationships in this play and how they change? Map it out! Create a diagram
of the four lovers (Hermia, Helena, Demetrius, and Lysander) as well as Oberon, Titania, and Bottom.
Using pictures and arrows, map out who loves whom at the beginning of the play, in the middle (following
Puck’s mischief) and at the end.
Tragical Mirth Read the play Pyramus and Thisbe, as it is performed before the court in Act 5, Scene 1. You may have
already read Shakespeare’s Romeo and Juliet, or maybe you saw WillPower production of it last year!
Many scholars think that the play-within-a-play in Midsummer is a deliberate reference to Shakespeare’s
own tragedy. Indeed the two plots are almost identical. But Pyramus and Thisbe moves us to laughter,
whereas “R&J” evokes tears. Why? What is it about Pyramus and Thisbe that makes it ridiculous instead
of tragic? Try acting the scene two different ways. First, make the play as hilarious as possible. Next, play
it seriously, trying to make your audience feel sympathy for Pyramus and Thisbe. How do the scenes
differ? What remains the same?
Fifteen Minute Midsummer In order to fit the performance in your school day, we cut our production down to just 80 minutes. Can
you get it down to 15? Divide into five groups, and assign each group one act of the play. Using only lines
from the play, create a 3-minute version of your act. It’s harder than you think! What are the most
important aspects of the plot? Characters?
Unleash Your Inner Shakespeare Shakespeare was a talented expressive writer. This exercise is done all on your own. First find a location
that has a lot of activity, like a hallway, the cafeteria, or outside somewhere. Once you have chosen your
secret destination, sit and write for 10-15 minutes. Write about whatever you see, hear, smell, or feel.
Make your writing as descriptive as possible. To see how well you described your location, see if your
class can tell where you wrote.
“Thou Art Translated!” Putting Shakespeare in Your Own Words At first, Shakespeare’s language can seem lofty or unfamiliar to the modern reader, but once you spend
some time with the text, you might find that it is not so different after all. Pick a scene or speech to
explore. Examining one thought at a time, “translate” the original text into your own words. Put the
speech in “plain English,” then work in pairs to create a second, creative translation. Fill a hat with the
names of celebrities, cartoon characters, or movie personalities, and ask students to pull from the hat.
How would Spongebob do the speech? Wonder Woman? Darth Vader? What changes, and what stays the same? We recommend visually separating the text for students to make it easy to focus on one
thought at a time. See the next page to tackle Helena’s speech from 1.1.
Extend the activity: If your students are theatrically inclined, you might also assign whole scenes for
students to improvise in their own words or in a celebrity personality.
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Making Shakespeare’s Words Your Own
In Act 1, Scene 1, Helena talks about her situation and makes a plan. Taking two lines at a time,
“translate” her words into the way you would say it. Once you’ve done that, flip the page and come up
with a creative translation, reimagine the speech as your favorite celebrity or character might say it!
Original Text How I Would Say It
How happy some o'er other some can be!
Through Athens I am thought as fair as she.
But what of that? Demetrius thinks not so;
He will not know what all but he do know:
And as he errs, doting on Hermia's eyes,
So I, admiring of his qualities:
Things base and vile, holding no quantity,
Love can transpose to form and dignity:
Love looks not with the eyes, but with the mind;
And therefore is wing'd Cupid painted blind:
Nor hath Love's mind of any judgement taste;
Wings and no eyes figure unheedy haste:
And therefore is Love said to be a child,
Because in choice he is so oft beguiled.
As waggish boys in game themselves forswear,
So the boy Love is perjured everywhere:
For ere Demetrius look'd on Hermia's eyne,
He hail'd down oaths that he was only mine;
And when this hail some heat from Hermia felt,
So he dissolved, and showers of oaths did melt.
I will go tell him of fair Hermia's flight:
Then to the wood will he to-morrow night
Pursue her;
and for this intelligence
If I have thanks, it is a dear expense:
But herein mean I to enrich my pain,
To have his sight thither and back again.
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Name:_____________________________
Write the name of the characters below next to their description.
Bottom
Demetrius
Egeus
Helena
Hermia
Hippolyta
Lysander
Oberon
Puck
Theseus
Titania
__________ 1. The queen of the fairies. She falls in love with a character who looks like a
donkey.
__________ 2. Attendant to the Fairy King. Uses a magical flower to enchant those in the
forest.
__________ 3. The Duke of Athens. He is soon to be married.
__________ 4. A young man who flees Athens with the woman he loves.
__________ 5. The king of the fairies. He places a spell on his queen.
__________ 6. A young woman who loves a person who doesn’t love her back.
__________ 7. A young man who ignores the one who loves him and follows his crush into
the woods.
__________ 8. A weaver and an amateur actor. He is enchanted in the forest.
__________ 9. Queen of the Amazons. She is soon to be married.
__________ 10. A nobleman who asks the Duke for help with his daughter.
__________ 11. A young woman who flees Athens to defy her father.
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Here are some tried and true resources that we referenced for this study guide. We hope you find
them useful in your classroom! If you have a resource that you love and think other teachers should
know about, please let us know!
Books
The Essential Shakespeare Handbook by Leslie Dunton-Downer and Alan Riding
The Friendly Shakespeare by Norrie Epstein
Shakespeare A to Z by Charles Boyce
Shakespeare Set Free, part of Folger Shakespeare Library’s Teaching Shakespeare Series
Shakespeare: The Invention of the Human by Harold Bloom
Folk-Lore of Shakespeare, by T.F. Thistleton Dyer
Digital Texts
Folger Digital Text: https://www.folger.edu/midsummer-nights-dream
MIT Text: http://shakespeare.mit.edu/midsummer/full.html
No Fear Shakespeare: https://www.sparknotes.com/nofear/shakespeare/msnd/
Audio Edition
Folger Shakespeare produces quality, unabridged audio editions featuring a full cast of professional
actors (several of whom you may have seen at PSF!) This is a great resource to support independent reading.
https://www.folger.edu/podcasts-and-recordings#AudioEditions
Videos to Introduce or Review the Play
Kids Explain Shakespeare’s AMND: https://youtu.be/AQiSzmvykL0
Vitagraph Studios (1909 silent film, 11 min.): https://youtu.be/Yjlc-8RRJ2c
Shmoop Summary of AMND: https://youtu.be/Twz-BuzvBM0
How to Pronounce Character Names in AMND: https://youtu.be/iQXNR42K-98
The Beatles Perform Pyramus and Thisbe: https://youtu.be/Vo8qpZ-rl0o
Compare and Contrast: Production Trailers
Latest film, 2018: https://youtu.be/HGN8wJyJ_AY
Max Reinhart film, 1936: https://youtu.be/7jjUe3G4BtA
Shakespeare’s Globe, 2014: https://youtu.be/O7EeES8u6QE
BBC First TV movie, 2016: https://youtu.be/VHwS3Yb5p4I
Compare and Contrast: Puck’s Epilogue (“If we shadows have offended…”)
The Royal Shakespeare Company: https://youtu.be/Jh27CeneQ0c
Mickey Rooney as Puck (start at 2:15): https://youtu.be/iTeQDMfq8Gw
Dead Poet’s Society: https://youtu.be/iBMuBTnonQc
The Stage Company: https://youtu.be/58WDPqkteeo
39
The Pennsylvania Shakespeare Festival is a professional
theater company and the Official Shakespeare Festival of the
Commonwealth of Pennsylvania now celebrating its 28th season
on the campus of DeSales University. Every summer, the finest
actors, directors, designers, and artisans from Broadway, off-
Broadway, regional theater, television and film converge at the
Pennsylvania Shakespeare Festival. The area’s leading professional theater company, PSF brings five full-
scale productions, the WillPower tour, and Shakespeare for Kids to the stage each year.
Our Mission is to enrich, inspire, engage and entertain the widest possible audience through first-rate
professional productions of classical and contemporary plays, with a core commitment to the works of
Shakespeare and other master dramatists, and through an array of educational and mentorship programs.
We are on social media! Please tell your students they can like
Willpower at facebook.com/PAShakespeare of follow us
@PaShakespeare to learn more about upcoming events and stay
connected even after your WillPower day has ended.
Student Rush Tickets As a WillPower participating school, your students are eligible to attend PSF’s professional summer
productions at the dramatically reduced price of $5.00 on a rush basis (with their student I.D.) Single
ticket prices for the general public are normally $25 - $50+. As a teacher, if you are interested in bringing
a group to the Festival, you can take advantage of our group discounts by calling 610-282-1100, x1737.
The Summer Theater Institute (STI) at DeSales University, in association with The Pennsylvania
Shakespeare Festival, offers professional theater training to high school and college students, and
members of the community, as well as the best in drama education for grade school students.
The Summer Video Institute (SVI) at DeSales offers students an introduction to the theories and
techniques of digital moviemaking. Working with state of-the-art technology, students will design, shoot,
and edit films of their own creation.
The Summer Dance Intensive (SDI) at DeSales offers professional dance training to students ages
14 and up. The two-week program focuses on technical training in ballet, modern, and jazz dance.
For more information, visit https://www.desales.edu/news-events/act-1-productions/educational-opportunities.
41
Shakespeare and the Common Core
Standard Area – CC.1.3: Reading Literature: Students read and respond to works of literature – with
emphasis on comprehension, making connections among ideas and between texts with focus on textual
evidence.
Grade 6: CC.1.3.6.A, CC.1.3.6.B, CC.1.3.6.G, CC. 1.3.6.H, CC.1.3.6.K
Grade 7: CC.1.3.7.A, CC.1.3.7.B, CC.1.3.7.G, CC.1.3.7.K
Grade 8: CC.1.3.8.A, CC.1.3.8.B, CC.1.3.8.G, CC.1.3.8.K
Grades 9-10: CC 1.3.9-10.A, CC.1.3.9-10.B, CC.1.3.9-10G, C.C.1.3.9-10H, C.C.1.3.9-10K
Grades 11-12: CC.1.3.11-12A, CC.1.3.11-12.B, CC.1.3.11-12C, CC.1.3.11-12G, CC.1.3.11-12.K
Standard Area – CC.1.4: Writing: Students write for different purposes and audiences. Students write
clear and focused text to convey a well-defined perspective and appropriate content.
Grades 6-8: CC.1.4.6-8.A, CC.1.4.6-7.C, CC.1.4.6-7.D, CC.1.4.8.D
Grades 9-10: CC.1.4.9-10.A, CC.1.4.9-10.B, CC.1.4.9-10.C, CC.1.4.9-10S
Grades 11-12: CC.1.4.11-12.A, CC.1.4.11-12.B, CC.1.4.11-12.C, CC.1.4.11-12.S
Bolded standards are directly related to the viewing of a play and comparing it with the
original text.
1.) Titania
2.) Puck
3.) Theseus
4.) Lysander
5.) Oberon
6.) Helena
7.) Demetrius
8.) Bottom
9.) Hippolyta
10.) Egeus
11.) Hermia
“If we shadows have offended, Think but this, and all is mended- That you have but slumbered here While these visions did appear. And this weak and idle theme,
No more yielding but a dream…” -Puck, Act 5