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Call forth the actors . . .

  ‘All the world’s a stage,
And all the men and women merely players:
They have their exits and their entrances; And one man in his time plays many parts...’

Actress Sarah Siddons
  ‘To get into the mood for the sleep-walking scene, actress Sarah Siddons would go into the alley behind the theatre, in costume, and chop wood.’

Actor Robert Coates
  ‘I died in 1848 when a
hansom cab hit me as I was leaving a performance at the Theatre Royal, Drury Lane. I am buried in Kensal Green

  ‘As actors we really enjoy performing this play. It gives us the freedom to have fun and explore Shakespeare’
Mjka Scott - producer

Carole Bremson A Midsummer Night’s Madness (2012)


ISBN 978-1-906742-47-8


Bremson proved as devisor/director no ‘impediment’ but a 'true mind' whose text shifts our perceptions
Simon Jenner, The Whistler 

A brilliant piece of editing, masterminded by actor/director/writer Carole Bremson resulting in a series of slightly irreverent juxtapositions

 Maurice Stewart. Equity Journal

Read the Foreword to the book

Carole Bremson has miraculously condensed Shakespeare’s forest scenes, offering a pine-fresh perspective on transformation, displacement and temporary loss of inhibitions in nine plays and several sonnets. The inter-cutting, like grafting, functions as a fine critique, a hypertext of Shakespeare’s sylvan scenes. It’s a masterful shift in and out of character.

Bremson inserts sonnets into plays where Shakespeare fails to provide them. They’re so apposite you’d think them out-takes from the plays. More, Bremson offers a critique of acting history: she intercuts two diametrically opposed famous period actors – Sarah Siddons and Robert Coates. Thus Don Armado the amorous Spaniard from Love’s Labour’s Lost morphs into the latter actor, the inspirationally appalling Coates. At other times, it’s the lines themselves that jump cues. Costard hands out wrong sonnets (even Hamlet’s doggerel) spun brilliantly out of sanity. William the beaten shepherd in this adaptation finds new love after Touchstone grabs his girl - with her mother.

This is one of the most enduring textual and dramatic innovations of the
Shakespeare Olympiad – for professionals and amateurs.


Born in Mill Hill, North London,
Carole Bremson was auditioned
by her dog and failed, barking
disapproval at her Titania at the age of nine. This didn’t deter her from adapting Mary Poppins, making her way through Hermia, Ophelia and Jean Brodie before attending The New College of Speech and Drama in London. She danced in St. Andrews, performed at midnight at The Edinburgh Festival and was cast as Helena on a tour of the USA, reinforcing a growing addiction to theatre.

Since graduating, Carole has
worked as an actor, director and
teacher, most notably adapting
Shakespeare for Theatre in
Education companies in London and running Shakespeare workshops in Paris, Dublin and Geneva.

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