A Midsummer Night’s Dream (A Noise Within 2023 Production) Theatre Review

production photo by Craig Schwartz

There is something about A Midsummer Night’s Dream that, no matter what is going on in the world, it provides a delightful escape and a good amount of joy. We in the audience want to run off with the lovers, with the mechanicals, to the land of the fairies, even if those fairies at times act with a mischievous spirit, as they do in the new production of the play at A Noise Within. Directed by Julia Rodriguez-Elliott and Geoff Elliott, this production features an excellent cast, including Erika Soto as Hermia, Frederick Stuart as Bottom, Jeanne Syquia as Helena, Kasey Mahaffy as Puck, and Trisha Miller as both Hippolyta and Titania.

For A Midsummer Night’s Dream, this production has an unusual look at the start, the set dominated by greys, with a somewhat modern and somber vibe. A set of nine chairs faces away from the audience, an umbrella hooked over the back of each chair. So even before the performance starts, those in the audience get the sense this is going to be something a bit different. And the first scene does have a formal mood, which makes sense as it is an official proceeding. The men are in dark suits and hats, facing Theseus (Zach Kenney) and Hippolyta upstage, both of whom are also dressed in black, and both with furs, which set them apart. Trisha Miller (who was fantastic as Goneril in the company’s 2017 production of King Lear) gives another wonderful performance here, and gets deserved laughs when she reads her first lines from a prepared statement. After all, this is a political union of sorts, at least at this point. The love between them is not yet present. It is interesting just how serious this opening scene is, particularly when Egeus (Ed F. Martin) drags Hermia in, entering from the audience. The threat of death is taken seriously, and Hermia is understandably nervous. A sudden storm disperses most of the men gathered, though one mysterious character under a red umbrella remains. Before he exits, he reveals himself as Puck. It’s an interesting touch, and one that surprisingly reminded me of The Rocky Horror Picture Show, how Frank N. Furter and his cohorts are actually in the wedding scene at the beginning.

There are some other wonderful touches in the opening scene, as when Lysander (Riley Shanahan) goes down on one knee and actually proposes to Hermia. And it is then that Hermia’s spirits are lifted, and her fears are replaced with joy. And so it is with those of us in the audience, who are also eager to escape with them away from the greys that surround them. Also, Lysander’s delivery of “Helen, to you our minds we will unfold” is hilarious, as Hermia has already made that decision for them and is clearly in charge. Erika Soto is always spectacular, and Riley Shanahan in his debut performance at A Noise Within is able to be a great match for her. And we know that had it been left to Lysander, he would not have revealed their plan to Helena, for as he exits he cautions her to remain quiet. Jeanne Syquia, who gave a moving performance as Ophelia in Antaeus Theatre Company’s 2022 production of Hamlet, does another excellent job here as Helena, and makes good use of the inhaler she’s been given as a prop. Later she uses it on “I am out of breath in this fond chase.” She is particularly funny when seeing Lysander on the ground, and jumping to the assumption that he’s dead before then considering the possibility that he could be asleep. And Riley Shanahan is hilarious as he then begins to woo Helena.

When we meet the Mechanicals, they are all wearing green rain slickers, and that helps sell the idea that they don’t want their theatrical plans overheard. For who would go walking deep in the woods in the rain? Flute’s line “I have a beard coming” is shortened to “I have a beard,” for he is a bit older in this production, and does indeed have a beard. Ed F. Martin, who plays Egeus, doubles as Flute. Frederick Stuart, who this year has already turned in excellent performances as Don Pedro in Much Ado About Nothing and as Richard Burbage in The Book Of Will, gives us a delightful and rather sweet Bottom. The bluster is there, of course, but this Bottom also has tremendous heart. Alex Morris, who was hilarious as Ben Jonson in The Book Of Will, is particularly good as Peter Quince. His Quince is more in control than many, much stronger, but just as funny. His delivery of “you speak all your part at once” is especially hilarious. When Bottom is transformed, it is with a full donkey head. And when he says he’ll sing, there some musical accompaniment.

Puck and the other fairies have black feathers. And it is when we are introduced to them that the set changes, opening up to let in the magic and creating different levels in the process. The first Fairy (Cassandra Marie Murphy), upon her entrance, is pushing a pram, which obviously contains the changeling boy that Oberon and Titania argue over. Titania is clearly happy to have the changeling boy, and Oberon enters above upstage. He wears a fur coat and feathers. In addition to the double casting, the costuming also creates stronger parallels between the two couples, with both Theseus and Oberon in long furs, and some similarities between Hippolyta and Titania’s outfits. This is important, because it helps us accept Hippolyta’s change at the end of the play. We get the sense that as Oberon and Titania’s relationship improves, so too does that of Theseus and Hippolyta, even though we don’t see that occurring. Interestingly, when Oberon accuses Titania of loving Theseus, her reaction suggests he may not be wrong. So perhaps he has reason to be jealous. When he begs for the boy, he actually gets on his knees before her, so it is Titania who holds the power early on. And Trisha Miller’s delivery of the speech about the child’s mother is moving and beautiful. The relationship between Oberon and Titania is clear. We sense that though they bicker, they soon make up, for even in this scene Oberon goes to her and they embrace. And all would be well if Oberon didn’t once again demand the child. It is only then that Titania truly becomes angry.

Oberon finds great amusement in Helena’s “spaniel” speech, effectively becoming a member of the audience, though on stage. When Demetrius (Rafael Goldstein) says “With the rich worth of your virginity,” Helena slaps him, surprising both him and herself, a wonderful moment. Oberon is then more moved by Helena, again sort of mirroring our own reactions to her situation. And though Helena does not yet get Demetrius, she does end up with one of his shoes, in a delightful bit of stage business. The fairies in this production play a big role, and there is some wonderful choreography to their movement. I love how they are present for the scenes with the lovers, sometimes standing still and holding lights, as they do when Hermia and Lysander enter. And Puck has a couple of surprising entrances. There are a few modern line readings that get big laughs, as when Puck says “Churl” like a sassy delivery of “Girl!” As I mentioned, the fairies in this production are perhaps more mischievous than usual, and there is a great moment when they essentially create Hermia’s nightmare. And then one fairy remains, spinning a light around, playfully mesmerizing Hermia, leading to her “I swoon almost with fear.”

Titania’s relations with Bottom are on the sweeter side in this production. When he indicates that he wants to leave the woods, Titania actually seems worried of losing him. She wants to please him, which is adorable. Also adorable is the way they take each other’s hands, slowly, like first loves. And soon they engage in a dance. Though obviously comical, it is also surprisingly beautiful. And I love how quickly Bottom grows accustomed to his new position among the fairies, demanding odd things from them just because he can. When Oberon explodes in anger at Puck, the other fairies all duck and cover their heads, a strong indication of what could happen (and probably has happened) when Oberon is displeased. There is something wonderful about how much interest Oberon takes in the affairs of the mortals. He seems to feel that if he can settle their troubles, then he’ll be able to settle his own with Titania. And perhaps for that reason he takes great pleasure in seeing Demetrius fall for Helena. And in that moment, Demetrius gives Helena his other shoe, an absolutely adorable and funny bit.

The four lovers, now dressed in white, are hilarious in the scene when the two men fawn over Helena and try to protect her from Hermia. Hermia’s delivery of “I understand not what you mean by this” is particularly funny, and another example of a line given a modern flavor. There is also a lot of physical humor in this scene, and all four actors do a tremendous job with it. Puck watches, enjoying their antics as much as we in the audience do. The other fairies help confuse and mislead Demetrius and Lysander, again showing their mischievous side. And in the morning, Rafael Goldstein is particularly moving when speaking of his love for Helena. There is sometimes a feeling in that speech that he is the only one still under the flower’s spell, and so there is a question about whether he truly loves Helena. Not so in this production, where it seems that Demetrius has woken to remember his initial love for Helena, and is now not only no longer under any of the fairies’ magic, but also no longer under the spell he believed Hermia had cast over him. It’s a really nice, touching moment.

Theseus and Hippolyta are now also dressed in white. Puck takes the role of Philostrate, which adds another layer of humor to his attempts to dissuade Theseus from choosing the Mechanicals’ play. Peter Quince is a bit nervous as he delivers the beginning of the prologue, but by the end has conquered his nerves. He watches the action from upstage, remaining on book for his actors and mouthing the words, a wonderful touch. Bottom of course milks his death scene, and is quite funny in doing so. Flute, as Thisby, upon seeing Bottom, as Pyramus, on the ground, assumes, “Asleep my love?” It’s interesting, because of course that’s the opposite of when Helena came upon Lysander and jumped to the conclusion that he was dead. Both are wrong. Bottom offers Theseus the epilogue, but no mention of the Bergomask is given in this production, and so there is no dance at the end. When we see Oberon and Titania, they are pushing the pram together, a wonderfully sweet final image of them. And when Puck asks for our applause, we enthusiastically give it. It has been a wonderful ride, and we are somewhat reluctant to return to the world outside, though knowing we can carry a bit of the magic with us as we go.

This production of A Midsummer Night’s Dream runs through November 12, 2023. Visit the theatre’s website for the complete schedule. There is one intermission, which comes at the end of Act III Scene i. A Noise Within is located at 3352 E. Foothill Blvd. in Pasadena, California. Free parking is located at the Sierra Madre Villa Metro Parking Structure.

Shakespeare Reference in Your Erroneous Zones

I honestly thought this book was going to be a funny look at sex or something. Obviously the title is a play on erogenous zones. And look at the guy’s photo. From that photo, I assumed he was some kind of comedian. Well, I was wrong. The book isn’t funny. But it does contain one Shakespeare reference. Dyer writes, “He’ll learn to write a theme properly and the correct interpretations of Hamlet” (p. 66). Here he is talking about the typical high school student learning to conform.

Your Erroneous Zones was published in 1976. The copy I read was the First Avon Printing, September 1977.

Shakespeare References in The Making Of Star Trek

It is no surprise that a book about Star Trek contains some Shakespeare references, for that series (or, rather, a collection of series) has fairly regularly referred to Shakespeare. The first reference in this book is to Shakespeare himself, with author Stephen E. Whitfield writing, “Roddenberry insisted that literature is literature, be it called science fiction, Shakespeare, or Cowboys and Indians” (p. 35). The next reference is to The Tempest, and it comes from something Morris Chapnick is quoted as saying: “I can give you a Brave New World because that is something I can see, but some of the stuff Gene does on the show – I don’t understand it” (p. 101). In Act V of The Tempest, Miranda says, “O brave new world/That has such people in ‘t.”

The section on William Shatner of course mentions Shakespeare. Whitfield writes: “Shatner took a giant step forward when he joined the famous Stratford, Ontario, Shakespeare festival as an understudy. He started with walk-on and bit parts and eventually graduated to co-starring roles in The Merchant of Venice, Henry V, and others” (p. 219). And then: “Several months later they were married and spent their honeymoon in Scotland, where Shatner played a featured role in the Edinburgh Festival production of Henry V” (p. 220). And: “Hollywood film-making also offered him the chance to act in westerns, and the Shakespearean-trained Shatner learned to rope, shoot, and ride bareback” (p. 220). Shatner is quoted as saying, “To everyone’s surprise, I turned down starring roles in Romeo and Juliet and King John at Stratford, just to remain in Hollywood and keep my name in front of the Hierarchy” (p. 220). Likewise, the section on Leonard Nimoy mentions Shakespeare: “In preparing for his TV role, Leonard’s reading habits underwent a decided change, as he normally leans toward Salinger, Steinbeck, and Shakespeare” (p. 235). And regarding James Doohan, Whitfield writes: “His theatrical appearances number more than one hundred and include roles in King Lear and Macbeth. He says his ultimate goal in the theater is to play Lear at the age of fifty-five” (p. 246).

The book ends with a section listing all the episodes from the show’s first two seasons. Three of those episode titles refer to Shakespeare: “Dagger of the Mind,” “Conscience of the King” and “By Any Other Name.” The first is a reference to Macbeth’s line “Or art thou/A dagger of the mind, a false creation.” The second refers to Hamlet’s line “The play’s the thing/Wherein I’ll catch the conscience of the king.” The third refers to Romeo And Juliet, but to the First Quarto (the bad Quarto) reading of “By any other name would smell as sweet.” The Second Quarto and First Folio editions read, “That which we call a rose/By any other word would smell as sweet.”

The Making Of Shakespeare was published in September of 1968. The copy I read was from the fourth printing, March of 1969.