WIlliam Shakespeare’s A Midsummer Night’s Dream is one of the most popular comedies in the history of literature. It’s timeless. One of the best things about performing timeless Shakespeare comedies is that you can tweak, jigger, flip, and reverse his work into whatever shape pleases you and your audience. Set it in James Dean and Marylin Monroe’s American 1950’s, add some Doo Wop songs, punch in some Brando quotes, and it’s still A Midsummer Night’s Dream.
James Ricks, as Director, spun the playful wheel of “Where in the universe is this production taking The Bard” and emerged with an incredibly entertaining product I wholeheartedly endorse. The play remains intact, hilarious, and modern for any time. It’s still a story about four young people absconding to the woods to rebel against expectations placed on them, seeking teenage love and freedom. They get dosed by good-intentioned if not clumsy fairies, get awkwardly horny for the wrong people, and it all works out in the end, so… Mazel?
This is easily W.S’s trippiest play. Psychedelics were not the most popular drugs in Elizabethan times, though they did know which mushrooms made you giggle. Since most farmers of the time grew hemp for clothing and ropes etc, it would be naive to think they didn’t understand the power of a good bud. This play is a bit more reminiscent of a late-night rave with some excellent MDMA (ahhhh, the 90’s) but the point stands. Shakespeare pushed in on the correlations of dreams, fantasies, hallucinations, and altered states well before Freud, Jung and Timothy Leary creeped on their moms and/or flashed a glassy-eyed peace sign. Once again, the GOAT is in the house. This time, he brought party favors.
I cannot understate how much I love it when Directors take liberties with the canon. These plays are so old, renewing their themes and jokes should be the force majeure inherent in any attempt at them. Dammit, James Ricks gets it. It was precisely his courage in treating the verse like a pop song rather than a hymn that made this show shine. And talk about shine. Every single actor in this production looked like they were having a blast. The Polaris in the sea of stars however, was Paisley LoBue’s Helena.
SHE KILLED IT. Every single line was elevated past its archaic syntax with ease. The clarity of her line delivery and comedic timing was impressive for any stage (or screen). There wasn’t a bad performance in the whole thing, but every time she was on stage, the play’s dials went to 11. This is where I give mad props to Starrene Forster for some excellent choreography as well. It takes a village to pull it off, but it takes a creative force to set it in motion. Standing golf clap for you, Ms. Foster.
Let me be direct before I go fanboy on the actors I’ve come to anticipate greatness from. The audience I went to see this with was in uproarious laughter for the jokes, and in stunned appreciation for the surprise vocal talents during the shoe-horned-in doo wop songs. I’m not saying this to be extra, but I don’t think I have seen an audience in more sync with the vibe of the players in a long time. I mean it. It was FUN. If you can make a 450-year-old play stream happy tears down the faces of people who’ve read all the spoilers, you deserve the standing ovation they’re so eager to give.
That said, Abe Timm was born to play Puck. Like a local Andy Serkis, she displays total body control. She slinks, slithers, pounces, and prances in ways that make my back hurt while watching. The relationship between Puck and Arik Cullen’s lordly mischeiviant Oberon was delightfully fresh. Puck seemed less Oberon’s thrall, and more the like homie that’ll totally “go talk to those girls”. It was cool to see this dynamic softened to a codependent friendship than a Frankenstein/Igor thing. Timm leans into the moments where Puck displays occultish supernatural powers, and from a nerdy perspective, the shift is thrilling.
Elle Meerovich could make a funeral funny. I’m not sure what the recipe is for whatever it is they’re serving, but I’ll take seconds. Their performance as “Wall,” and the slapstick that goes into it, was a highlight I will not spoil. You will howl, though. A wall. They made a fucking wall hysterical.
James Ricks cast himself as Bottom. I would normally be entirely too critical of the hubris. But daaaamn, dude can ACT. While I heap praise on the above thespians for talent and presence, James runs a clinic on stage confidence. He gave the character so much charm and insufferability as the overachieving actor, one would assume he has seen this very same archetype cross his boards for decades. The show is in good hands. His lead from the vanguard in this production was brave and paid off.
Gordon Graham and Erich Appleby plate the testosterone and snort the consequences ably as Demetrius and Lysander, respectively. Erich’s greaser Rebel Without a Clue contrasts with Gordon’s privileged apron-clutcher as written, but the juice between them is the parity of misogyny and self-centeredness no text can imbue. The dynamic was effortless.
Erin Chaves had the hardest part in my opinion. Hermia isn’t given a lot of space to be likable in the play. The character is the “hot girl who gets humiliated” type. By the time she and Paisley LoBue’s Helena really get into it as rivals, she’s at a handicap. Erin lets the script make us feel for her predicament and rides the character into the sunset. She trusted the source material to let the audience come around to rooting for her in the end.
Alex Godschalk, Erica Hughes, and Enrique Gonzales were the bay leaves in the stew by being perfect when called upon and generous in recession – giving weight to the “no small roles, just small actors” truth.
A Midsummer Night’s Dream demands Titania be a reactionary force. She does not move the story forward necessarily, but Jianna Hurt finds the fabulous Queen Mab’s heart and lets us enjoy her oblivious misadventures. This was the first time the character really interested me at all. James Ricks emphasizes her empathy and nobility via creative license in song, but she gives the faerie queen humanity in poise. Even when she’s sleeping with a donkey.
All said, bravo! Another win for Richmond Shakespeare, another victory for Richmond audiences.
Get your tickets HERE
Main photo by Aaron Sutten
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