For this production of A Midsummer Night’s Dream, I aimed for simplicity and strength, drawing inspiration from a Japanese aesthetic with a sexy twist to create a captivating world of Oberon (Fairy King) and Tytania (Fairy Queen).

The stage featured a hot pink floor where various iconic objects were placed. The forest was depicted by large round bar tables topped with green grass and pink flowers. Black ropes embedded with crystals descended like dripping rain or mystical jungle trees.

In Act 2, an endlessly long green grass carpet filled with pink flowers descended, creating a whimsical setting where fairies in modern street clothes blew soap bubbles and rode scooters. In contrast to Tytania’s fairies, Oberon’s assistant Puck was portrayed as a punkish delinquent—wearing a tattered shirt, striped insect-like leggings, and super platform boots.

Last scenes featured white, light-up water lilies that appeared to be floating in the space, symbolizing the restoration of peace and beauty. All these objects were set against a large 16-foot circle at the back of the stage, serving as a moon to project the desires and unseen emotions of humankind.