In the "Bar" version, the context within which the play is played out is a bar. Again the play is enclosed in a framing action. A bar is seen upstage.It is then occupied by a group of "hostesses" (the fairies), followed by an apprentice bar attendant (Puck) and an apprentice "hostess" (fairy). "Puck" carries a script with him. He is a young actor learning his part while working at the bar.
The bar-owner and his wife enter and cause a disturbance. "Puck" is knocked down while attempting to restore order. Coming to his aid, the "fairy" hands him back the script which has fallen from his hands. At this point, the bar owner and his wife become Theseus and Hippolyta, and the play begins.
Unlike the "School" version, the setting here is contemporary. Music tends to be modern bar or disco style. Titania's lullaby is to the same tune as the "School" version but an octave or so lower. It is also slower and differently phrased. This seems to be a Dream for adults.
The two productions seem to "talk" to each other in a multitude of other ways too. Where in the "School" version, Titania is sung asleep on top of two school desks, in this version she is laid on two bar tables in roughly the same stage position. The similarity in staging underlines a difference of tone (she is drunk). A different conversation happens between the three versions of the mechanicals' interlude. "Wall", for example, seems a roughly similar characterisation throughout, but with big differences of body image and attitude.
The contemporary bar is not so unearthly and mysterious a setting as Deguchi's dreamingly remembered school. It is earthy and boozy. Yet, it has its own mystery. Whereas the former production represents the dream of a successful director, this is the dream of a struggling actor.
Jump to Bar Version: Opening sequence