The walls of the A Midsummer Night’s Dream set featured a pneumatic piston system that enabled the walls to be lowered from 90 degrees to a slanted angle. The rigid upright walls were for the everyday world of Athens, while the slanted walls represented the wild, overgrown nighttime chaos of the Forest. Director Michael Butler wished to stage the classic play in a non-traditional way. Butler says, « Midsummer has two distinct worlds: that of the Court with all its rules and constraints, and the forest, which is anarchic, mischievous, erotic. I thought of the play as a gleeful and unruly rebellion of the imagination against all those forces that tell us what we’re supposed to do. I wanted also to play with strange intersections of the dream world with real-world, like vines invading our hair while we sleep. So rather than keep the two worlds separate, Kim and I wanted the world of the Court to be taken over and transformed by the forest, much the way it might happen in a dream where the familiar can suddenly alter in strange ways.