A Midsummer Night's Dream: Reactions

“As the performance goes on, the conceit regarding the various performing traditions becomes clearer. The show does not pretend it is faithful to the art form. Rather, certain aspects are borrowed to accentuate a certain quality of the character or to add to the mise-en-scène.”  – Isaac Tan

"跨文化戏剧学院版本的《仲》，没有魔法与幻术，呈现的是演员们扎实的功底和表演能力。这批一起训练三年的演员们是极具默契的组合（ensemble），在演出中配合无间，不少人必须分饰两个角色，我看的那一场戏，观众们都看得很投入，笑声此起彼落。简洁的舞台仿佛是他们毕业后蕴含的各种可能性，我期待未来能有机会看他们在各自的舞台上发光发热。"

"ITI’s version of A Midsummer Night's Dream did not employ any magic or illusion — it exhibited the actors' strong grasp of their training in the traditional performances and their acting ability in plain sight. This group of actors, having trained together for three years, moved the play forward as a tight ensemble. Many of them had to play two roles, and the audience were very engaged throughout, often breaking out into laughter. The bare stage seemed to be a metaphor for a variety of possibilities, and I look forward to watching more of these actors’ respective stage works in the near future." – Neo Hai Bin, 剧读 thea.preter

“The company, or the ensemble, is really a tightly knit group of people, and they play off the energies of each other, as well as support one another very well. And when there's opportunities for them to shine, they do so justly. They sing, they act, they dance and they play. And they do it with pure joy.” – Isaac Lim (zac.rated)

“The staging of the Mechanicals’ rendition of Pyramus and Thisbe no doubt saw great favour with the audience, sending them into fits of uproarious laughter. In particular, Wan Ahmad’s dual role of Snout the Tinker gave rise to most of the mirth in the scene (for me, at least). His spell of the Singlish vernacular incorporated into the Bard’s vocabulary, coupled with his absurd and awkward portrayal of Snout and the Wall (in the scene where Pyramus and Thisbe speak through a crack in the wall) lent much to the scene’s comedic value and was a marvellous display of Wan’s versatility and adept acting skill.” – Philippe Pang

“Aarne Neeme's direction (and doubtless the tireless work of the other faculty members) and the training the students went through ensured that the cast was entirely in control despite any limitations. The decision to incorporate an intercultural sensibility into the costume design and movement choreography worked on multiple levels. The water sleeves of the 'Sino-Athenian' garments, for example, were used to great comedic and clever effect on more than one occasion.” – Cheng Nien Yuan