This thesis explores the relationship that a theatre director has with a play text. This is examined through looking at rehearsal techniques of established directors Peter Brook and Katie Mitchell, and analysing four professional productions; A Midsummer Night’s Dream directed by Peter Brook (1970) and Peter Hall (2010), Romeo and Juliet directed by Rupert Goold (2010) and Juliet and Her Romeo directed by Tom Morris (2010.) Through analysing these Shakespearean productions in relation to the comments from critics on how well each director’s interpretation was received, I will show why the director’s vision is important when re-inventing classical texts. In relation to Brook and Mitchell, this study will show how their individual methods were incorporated into my own rehearsal room environment to create two unique interpretations of the same scenes from William Shakespeare’s A Midsummer Night’s Dream. The overall findings of this practical and written study will show how a distinctive rehearsal process, combined with a new vision or adaptation for the text will create an innovative performance of even the oldest of works.