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| production photo by Ian Flanders |
As the play begins, Hippolyta (Taylor Jackson Ross) enters alone, and offers part of a song (without lyrics). It is a private moment, her voice raised to the skies, to the gods. It is also a moment of personal strength, interrupted by Theseus (Colin Guthrie) calling her name. It is an interesting introduction, and provides more context to Theseus’ speech about wooing her with his sword. It feels an uneven relationship in this moment, as we get a glimpse of what she may have lost. But don’t worry, this is a comedy. As I mentioned already, everything will be put right by the end. The Hermia/Lysander relationship in this production is a lesbian one, which of course does cause Egeus’ objections to this pairing to take on, whether intended or not, a homophobic quality. Does he want Hermia to marry Demetrius only because he wants his daughter to have a heterosexual relationship? We can’t be sure, but of course it crosses our minds, particularly when Egeus (Ted Elrick) delivers his line, “Demetrius is a worthy gentleman.” Hermia (Anais Morgan) still replies, “So is Lysander,” which perhaps gives us a little insight into their relationship’s dynamic. This production adds a larger musical component, with several lines and speeches sung. For example, Lysander (Fiona Dorn) sings, “The course of true love never did run smooth.” Hermia sings her next line as well, and the two engage in a duet. Hermia in particular, by the way, has a beautiful voice. Helena (Olivia Michael) enters a bit earlier than indicated in the text, so she overhears Lysander’s plan. But Helena is still excited for Hermia when Hermia announces that she and Lysander will fly this place. It’s an adorable moment that helps to establish the closeness of their friendship. Much later in the play the two share another special moment downstage center, even as Helena believes that Hermia is part of a plot to mock her, showing that their friendship could withstand even that situation.
The actors, as is always the case at this theatre, make great use of the space, with the Mechanicals making their entrances from various places. When Bottom (Jonathan Blandino) asks whether the character he is to play is a lover or tyrant, he begins to playfully fight with Quince (Emoria Weidner), which leads to Quince’s “A lover,” delivered urgently to get him to stop. The reaction of Starveling (Matthew Clair) to hearing his part is to be Thisby’s mother is wonderful; he is disappointed, but accepting, and in that brief moment, we get the sense that that is likely his reaction to much in life. As Quince hands out the scrolls containing each player’s part, there is another wonderful moment when Snug (Seth Weaver) holds out his hand, but receives no scroll, for he is to play the lion. There is a great energy among the Mechanicals. The fairies then enter from the woods stage left, and sing those famous lines that begin, “Over hill, over dale.” And Puck (Christopher Glenn Gilstrap) enters in dramatic fashion. His costume and makeup are excellent. I especially love the white spots on his shoulders and cheeks, helping to set him apart. And his proud reaction to the fairies recognizing him and recounting some of his exploits is perfect. Oberon (Tiffany Coty) and Titania (Heidi-Marie Ferren) are both dressed in shades of green, with elaborate headpieces. When Oberon mentions the changeling boy (or changeling child in this case), Puck beckons the child to him and takes her by the hand, to do his master a good turn, an excellent moment. But Titania’s power is too strong, and the fairies protect the child. Titania then sings the next speech, about the child’s mother, which makes her feelings for the child all the more powerful and clear. She speaks the last two lines of the speech, which then have added emphasis. Titania is excellent in this scene, and throughout the play. Oberon is also magnificent. I love how Oberon takes great joy when describing to us the possible creatures that Titania might see upon waking.
As with last year’s production of this play, magic plays a wider role than is sometimes the case. For example, Oberon uses magic on Helena to cause her to continue the chase of Demetrius (Steven T. Gordon). It’s interesting, for she seems for a moment to have given up the chase when she delivers her “We should be woo’d and were not made to woo” line. And later when Titania says “Out of this wood do not desire to go,” she uses magic to keep Bottom from leaving, a wonderful moment. There is a great sense of fun among the magical characters. Puck hoots from his perch above stage left, leading to Titania’s “clamorous owl” line. Then in the scene where Puck mistakes Lysander for Demetrius, Lysander has removed her skirt, revealing pants underneath (and using the rolled up skirt as a pillow). Also, she sleeps with her head facing downstage, away from Puck. And, let’s not forget, it’s supposed to be dark. Those elements make it believable that Puck could mistake a woman for a man. When Helena enters, she now has weeds sticking out from her clothing. She seats herself directly in front of Lysander to address the audience. When she leans back, she ends up resting on Lysander’s legs, leading to her line, “But who is here?” Helena’s look of confusion to the audience when Lysander responds with new interest in her is great. She is fantastic in this scene. I also love her expression later when Demetrius wakes to now dote on her. For just a moment she is happy, until Lysander takes her other hand, and she perceives it as a cruel joke at her expense.
Hermia exits as Bottom enters, and the two frighten each other, a funny moment. Bottom is great as he momentarily takes over the company, while Quince stands apart a bit down right of the others. Quince sits with the audience while directing the rehearsal. I love Quince’s delivery of “You speak all your part at once, cues and all.” In that moment, it is like Quince is a teacher trying to organize a children’s play and we understand that frustration. Puck is also excellent here, and is absolutely delightful on the line “An actor too perhaps, if I see cause.” And when he transforms Bottom, a full donkey head is used. The fairies are confused when Titania refers to Bottom as “gentleman,” but of course still follow her instructions. There is an adorable moment when Hermia, carrying two bags, raises her arms, and Puck, from behind her, takes them. Hermia is so caught up in the moment that she doesn’t notice, but before she exits, Puck makes sure she has them back in her hands. While the entire cast is good, Christopher Glenn Gilstrap is outstanding as Puck. I love his delivery of “look how I go,” as Oberon is facing away toward Demetrius. Oberon, by the way, does not turn around to look how he goes. And when the four lovers are squabbling, Puck watches the action from above, as if from an opera box overlooking a delightful play, which of course it is. Oberon is also above, but not watching the drama with as much joy. Then, when trying to set things right, Puck at first leads Helena to Lysander’s sleeping form before realizing his mistake, another nice touch.
Bottom is great when he starts to speak of his dream to the audience. Jonathan Blandino is really someone to watch this summer, turning in excellent performances in both this production and The Merry Wives Of Windsor (where he plays he Ford). The four lovers take seats in front of the stage to watch the Mechanicals’ performance, while Theseus and Hippolyta remain above. When Bottom says “Ninny’s tomb,” Quince, behind him, clearly wishes to correct him, but lets it go, another wonderful touch. Bottom, of course, milks his death scene, but when he gets too close to where Theseus is, guards are prepared to stop him. When Flute (Milo Rechler) as Thisbe says, “Lovers, make moan,” he indicates the four lovers in front of him. The Mechanicals start a dance, which others soon join. Theseus and Hippolyta’s part of the dance has a warlike vibe, calling to mind once again the way their relationship began, but now you get the sense that they have established some equality between them. Ah yes, everything is put right.
This production of A Midsummer Night’s Dream runs in repertory through October 1st. Visit the theatre’s website for the full schedule. There is one fifteen-minute intermission, which comes at the end of Act III Scene i. Will Geer’s Theatricum Botanicum is located at 1419 N. Topanga Canyon Blvd. in Topanga, California.
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