Hoffman has seen fit to relocate the play to Tuscany at the end of the 19th century.
Great artists are possessed of great intuition, which appears to many as a magical power.
This production tarts up the play any way it can.
I've read dozens of books on this topic, as to me it's of particular import, and Hoffman outlines two new concepts I had not seen previously.
There is not much chemistry between Pfeiffer and Everett, nor between Pfeiffer and Kline, particularly in their big love scene.
The weaver is Bottom , and he and the mischievous Puck are the most important characters in the play, although it also involves dukes, kings, queens and high-born lovers.
This shrewish woman judgmentally watches her husband as he performs for the crowds and disgustedly dismisses her husband following the scene in which he is drenched with wine.
The extraordinary spirit of the piece and the astonishing light touch of the author must be bound up with what one perceives as, if not a utopian vision, at least the suggestion of a world of infinite possibility.