Summer Night's Dream in Stockerau: A glorious prankster, but not the whole story

A summer evening performance of Shakespeare's A Midsummer Night’s Dream in Stockerau drew mixed reviews, with critics praising individual performances but questioning the overall cohesion of the production. The play, directed by Stockerau Theater Intendant Christian Spatzek, who also played the role of Egeus, was staged under the open sky, utilizing a rotating stage set designed by Manfred Wabas. The set featured classical columns and sculptures, creating a palatial setting that could easily be mistaken for the opulent home of a newly wealthy individual. Combined with the Baroque Stockerau Church in the background, the design was described as overly elaborate. Audience members reportedly gave spontaneous applause during scene transitions, particularly when moving from the ornate palace to the fresh greenery of the forest setting. The production received both applause and cheers from the audience, though some felt it lacked direction and momentum. Before the intermission, many scenes appeared rushed or lacking in energy. The challenge of portraying multiple layers within the play, ranging from the political sphere of Athens, where Theseus (played by Peter Windhofer) and Hippolyta (Susanna Hirschler) are preparing for their wedding, to the romantic entanglements of two younger couples, proved difficult to balance effectively. The confusion among the lovers intensified as they fled into the forest, where the quarrel between the fairy king Oberon and queen Titania (again played by Windhofer and Hirschler in dual roles) further complicates matters. Caroline Vasicek stood out as the hyperactive sprite Puck, whose energetic performance and colorful costume, designed by Babsi Langbein, were highlights of the show. An additional subplot involves a group of craftsmen who intend to perform Pyramus and Thisbe at court. Andreas Lust portrayed Niklas Zettel, a character striving to become a master craftsman, leading the comedic segment. Before the much-anticipated performance of Pyramus and Thisbe, Zettel is transformed into a donkey, which leads to a humorous interaction with Titania, who becomes enamored with him amid the tree branches. Lust’s portrayal of the absurdity and physical comedy in the play was likened to the style of a Nestroy-esque farce, bringing joy to the audience. During the performance of Pyramus and Thisbe, directed by Peter Josch as Peter Squenz, actors such as Christoph Fälbl, playing both Wall (“Oh Wall!”) and Moon (“Oh Moon!”), Reinhard Nowak as the poorly made-up Thisbe, and Franz Surahda as a shy old lion delivered their lines with theatrical flair. However, the poetic and magical elements of the original text were largely absent, necessitating the use of sound effects like bells to enhance the atmosphere. The musical finale was perceived as an awkward addition, feeling disconnected from the rest of the production. The performance took place on July 31, 2026, in Stockerau, drawing attention for its ambitious staging despite the criticisms regarding its coherence. The director, Christian Spatzek, has previously been noted for his dynamic leadership at the theater, and this production marks another attempt at blending classic literature with contemporary staging techniques. While the individual performances were lauded, the overall narrative flow and thematic unity of the play remained points of contention among critics and attendees alike. The blend of traditional elements with modern interpretations continues to be a point of discussion within the theater community, reflecting ongoing debates about how best to present Shakespearean works in new contexts.