Bar Version

50. Closing Dance

The lines after line 392, as well as Titania's and Puck's epilogue, are all cut. The fairies dance wildly on the tables like topless dancers, and after Oberon's speech, are joined by the lovers and mechanicals. At the last words of Oberon "So shall all the couples three Ever true in loving be", one couple of the young lovers who have been drinking hard at their table like others, stand up and have an affectionate kiss. The scene comes closer to a binge or a wild party under lurid red lights; here the fairies' world and the "green world" merge in the sexual fantasy of a contemporary Japanese (Deguchi). (cf. Bar 1. Opening Frame).

Note that Puck/Barman stays on the bar, watching the others enjoying themselves. Is he still a kind of stage manager of the play?

This wild action suddenly cuts out to be followed by a brief scene between Puck/barman and young fairy/novice hostess which parallels an earlier framing scene (Bar 12. Putting on stockings, Bar 13. Fairy's dance-step and Bar 14. Puck's introduction). In the darkness and quiet, a spotlight picks out the young barman, slumped at the table stage right, and he is handed his script of MND by the young hostess.

If School 49. Puck's epilogue inscribes that production as the dream of a desperate director, the Bar version seems now inscribed as the dream of a young actor (and part-time barman) who is hoping to play Puck. If so, the play we have been watching is the dream he had when he was knocked unconscious in the opening. As in the School version, there is a brief recapitulation of the Opening Frame action (above).

A Midsummer Night's Dream