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Nicholas Hytner’s acrobatic, erotic, playfully queered version of Shakespeare’s Dream seems even more delightful now than it was in 2019. It’s a fully immersive show, with audience members in the Bridge’s hi-tech pit (there are seats too) swirling around action at ground level and on raised rostra but also gazing up at bodies twisting and flexing in silk slings up in the air. It’s beautifully staged and acted, thought provoking, technically brilliant, and ends up with a party. Seriously, what’s not to like?