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REVIEW:  Commonwealth Shakespeare Company vividly envisions a spirited ‘A Midsummer Night’s Dream’ on Boston Common

Posted on by The Sleepless Critic

Summer love is alive and well in vivid color on Boston Common.

Featuring a strong cast of renowned local performers and vocalists, Commonwealth Shakespeare Company captures the look and vibrant color of love in William Shakespeare’s classic A Midsummer Night’s Dream.

With intricate direction by Steven Maler, Commonwealth Shakespeare Company rings in their thirtieth season with William Shakespeare’s classic comedy A Midsummer Night’s Dream for free live and in person through Sunday, August 9 on the Common in Boston, Massachusetts. Though Amy Rubin’s set is partially likened to a children’s playground, this night production is not for children.  The action is not limited to the stage, boasts valuable captions and runs 2 hours and 40 minutes with an intermission.  I witnessed the production on CSC’s ASL night on August 2.  Click here for more information and reservations.

De’Lon Grant* (Theseus) and Nora Eschenheimer* (Hippolyta). Photo Credit: Nile Scott Studios.

It is not difficult to see why A Midsummer Night’s Dream is one of Shakespeare’s most performed and beloved plays.  It is everything but tragic and can be interpreted in a variety of ways featuring magic, mischief, romantic comedy, music, action and much more.

A Midsummer Night’s Dream has multiple story lines, but the cast translates Shakespeare’s work with a lively affinity for the text while infusing improvisation and pop culture references along the way.  Part play within a play, part fantasy, and part comedy, A Midsummer Night’s Dream essentially explores love in all of its forms from unrequited to desire to true love to romantic comedy gone awry due to some mystical love potions.  Shakespeare’s witty dialogue is an intriguing reminder that his classic story lines translate seamlessly into a wide variety of contemporary scenarios.

Nora Eschenheimer* (Titania) and The Company of A Midsummer Night’s Dream. Photo Credit: Nile Scott Studios.

A Midsummer Night’s Dream is also the source of some of Shakespeare’s most famous reflections on love such as ‘True love does not see with the eyes, but the mind’ and ‘The course of true love never did run smooth.’  Scenic designer Amy Rubin also emblazons Shakespeare’s immortal words about mortals and fools into the very fabric of the production’s multi-tiered and industrial scaffold set.  Rubin certainly provides the wow factor in a heart shaped and layered set which is a cross between a playground and a night club complete with slide and ball pit as a glimmering disco ball hangs overhead.  Maximo Grano de Oro illuminates this wild landscape with active and multicolored glee as the flashing lighting pursues the actors to the beat of the production’s contemporary music. Costumers Brooke Stanton and Rachel Padula-Shufelt mix glimmering Athenian-inspired costumes with 80s and steam punk flair.  The ensembles range from refined and upscale in achromatic classic suits to splashy, florescent, glimmering, tinsel and feathered club wear which includes fringe jackets, cowboy boots, ornamental robes, fingerless studded gloves and bejeweled gold caps. The constantly playful and bold neon fairies seem pulled right out of a 80s night club in glowing ethereal wings and combat boots. Sound designer Ted Kearnan brings a contemporary vibe with a mix of original and popular upbeat rhythms built for comic relief as well as setting the scene.

Nick Cearley as Puck in Commonwealth Shakespeare Company’s ‘A Midsummer Night’s Dream’ Photo by Nile Scott Studios

Coy, roguish and often lighthearted, Shakespeare’s A Midsummer Night’s Dream establishes a world of status and fantasy featuring a cast of powerful and compelling characters often hysterically determined to fight for what they want and will do whatever it takes for a laugh demonstrated by Paul Melendy as slick and bombastic Nick Bottom from exacting accents to integrating a well placed Shrek reference.  Putting on a lovely Romanian accent, thick beaded necklace and large red glasses while wielding a ridiculous plastic sword, Karen MacDonald is delightfully unrecognizable as resourceful and charismatic Quince among a group of madcap and dedicated mechanicals including Brooks Reeves as a knitting Robin Starveling who offer more than their fair share of silly humor and bright ideas before the final curtain. 

Brooks Reeves (Robin Starveling), Michael Broadhurst* (Francis Flute), Paul Melendy* (Nick Bottom), Karen MacDonald* (Petra Quince), Alex Leondedis (Snug), and John Kuntz* (Snout). Photo Credit: Nile Scott Studios.

Some of this robust cast takes on dual roles which impressively shows off their range.   Jaime José Hernández as love struck Lysander shares jubilant adoration and endearing chemistry with Meghan Carey as sweet Hermia, but also has a chance to explore another side of this character.  In spiked hair and glimmering Athenian gear, Nick Cearley keeps the mischief flowing as prankster Puck conspiring with De’Lon Grant who adds gravitas to Theseus and Oberon for a string of seemingly harmless pranks.

De’Lon Grant* (Oberon) and Nick Cearley* (Puck). Photo Credit: Nile Scott Studios

Nora Eschenheimer takes on dual roles as sophisticated Hippolyta as well as commanding and seductive Titania. Carey is charming as headstrong Hermia while Annika Burley is comically relentless as crazy in love and wildly frustrated Helena going to arduous lengths to get what she wants. Burley’s Helena shares impetuous moments with Hernández as Lysander and Jack Greenberg as impulsive Demetrius navigated by carefully timed choreography.  Another highlight shows off Burely and Carey’s sharp comic wit during another confrontation when love goes awry. 

Annika Burley (Helena) with Jaime José Hernández* (Lysander) and Jack Greenberg*(Demetrius). Photo Credit: Nile Scott Studios.

Though the production can be a bit lengthy, Commonwealth Shakespeare Company’s A Midsummer Night’s Dream is a fun way to spend a summer evening under the stars.  This vivacious production continues live and in person through Sunday, August 9 on the Boston Common. Click here for more information and reservations.

REVIEW:  Actors’ Shakespeare Project envisions a wildly mischievous ‘A Midsummer Night’s Dream’

Posted on by The Sleepless Critic

It may not be the lusty month of May yet, but Actors’ Shakespeare Project’s contemporary A Midsummer Night’s Dream has it covered by the time it arrives.  This is one wild ride.

It is not difficult to see why A Midsummer Night’s Dream is one of Shakespeare’s most performed and beloved plays.  It is everything but tragic and can be interpreted in a variety of ways.  It features magic, mischief, romantic comedy, action, and it was a perfect way to celebrate Shakespeare’s birthday on April 23.

Eliza Fichter and Dan Garcia in ASP’s ‘A Midsummer Night’s Dream’ Photo by Nile Scott Studios

With bold direction by Maurice Emmanuel Parent, Actors’ Shakespeare Project continues A Midsummer Night’s Dream live and in person through Sunday, May 4 at the Mosesian Center for the Arts in Watertown, Massachusetts. The show’s action is not limited to the stage with two platforms immersed in the audience and runs 1 hour and 40 minutes with no intermission. Discounted tickets are available.  Click here for more information and for tickets.

The Cast of Actors’ Shakespeare Project’s ‘A Midsummer Night’s Dream’ Photo by Nile Scott Studios

A Midsummer Night’s Dream has multiple story lines, but the cast translates Shakespeare’s work with a lively affinity for the text with some improvisation and pop culture references along the way.  Part play within a play, part fantasy, and part comedy, A Midsummer Night’s Dream essentially explores love in all of its forms from unrequited to desire to true love to romantic comedy gone awry due to some mystical love potions.  A Midsummer Night’s Dream is also the source of some of Shakespeare’s most famous reflections on love such as ‘True love does not see with the eyes, but the mind’ and ‘The course of true love never did run smooth.’  Shakespeare’s witty dialogue is an intriguing reminder that his classic story lines can translate seamlessly into a wide variety of contemporary scenarios.

Kody Grassett, Doug Lockwood, and Bobbie Steinbach in ASP’s ‘A Midsummer Night’s Dream’ Photo by Nile Scott Studios

Scenic designer Ben Lieberson’s multilevel and industrial scaffolding not only provides a club atmosphere, but a somewhat blank canvas for lighting designer Brian Lilienthal’s multicolored illumination as a glimmering disco ball hangs overhead. Seth Bodie’s distinctive costumes feature a wide array of 90s and turn of the century looks from refined to over the top in splashy, glimmering, feathered and suggestive club wear to edgy street attire in fringe, pleather and denim to lavish upscale suits.  Sound designer MacKenzie Adamick also sets a 90s and 2000s vibe with a mix of original and popular club beats for both comic relief and setting the scene.  

ia Giatrelis, Eliza Fichter, Evan Taylor, Doug Lockwood, and Kody Grassett in ASP’s ‘A Midsummer Night’s Dream’ Photo by Nile Scott Studios

Coy, bold, and chock full of passion, Shakespeare’s A Midsummer Night’s Dream establishes a world of status and fantasy featuring a cast of powerful and absorbing characters determined to fight for what they want and aren’t shy about absurdity demonstrated by Doug Lockwood as the enthusiastic and bombastic Nick Bottom along with Bobbie Steinbach as resourceful Quince and a group of madcap and dedicated mechanicals offer more than silly humor before the final curtain. 

Bobbie Steinbach and The Mechanicals in ASP’s ‘A Midsummer Night’s Dream’ Photo by Nile Scott Studios

These mature characters are tougher and have experienced life’s hardships which is a valuable attribute for love is fickle.  Michael Broadhurst as Lysander may seem sweet and adoring sharing an endearing chemistry with Thomika Marie Bridwell as Hermia, but Broadhurst also has a chance to explore another side of this character.  Athletic Alan Kuang is remarkable as wild, mischievous, and break dancing Puck and his conspiring moments with Dan Garcia as Oberon make for street savvy and cunning pair.

Thomika Marie Bridwell and De’Lon Grant in ASP’s ‘A Midsummer Night’s Dream’ Photo by Nile Scott Studios

The women in this production are strong, beautiful, and fierce. Eliza Fichter takes on dual roles as powerful Hippolyta as well as glamorous and seductive Titania.  Thomika Marie Bridwell is wonderful as headstrong, comically tough and fearless Hermia while Deb Martin is a scene stealer and redefines crazy in love wild eyed Helena. Martin’s physical comedic prowess and the arduous lengths she goes through to get what she wants would be inspiring if she was not so unhinged and she shares some madcap moments with De’Lon Grant as impulsive Demetrius.  However, one intense scene between Martin and Bridwell going head to head becomes so hilarious and well executed that it stands as my favorite scene in this production. 

De’Lon Grant and Deb Martin in ASP’s ‘A Midsummer Night’s Dream’ Photo by Nile Scott Studios

One of the liveliest adaptations I’ve ever seen, Actors’ Shakespeare Project continues A Midsummer Night’s Dream live and in person through Sunday, May 4 at the Mosesian Center for the Arts in Watertown, Massachusetts Click here for more information and for tickets.

REVIEW: Defying destiny in Fresh Ink Theatre Company’s ‘Orpheus and the Overworld’

Posted on by The Sleepless Critic

It’s Orpheus and Eurydice with a twist and doesn’t stop there.  What hasn’t changed is that a portion of this classic mythological tale still hangs on a song or two.

Written by Dante Gonzales with creative direction by Shira Helena Gitlin, Fresh Ink Theatre Company presented Orpheus and the Overworld live and in person at Boston Center for the Arts in Boston, Massachusetts through Saturday, May 11.  This gender bending and semi-interactive production was approximately two hours including a 10 min intermission and was not limited to the stage.  Click here for more information.

The cast of ‘Orpheus and the Overworld’ Photo by Erin Solomon

Though still not a fan of mythology, feeling pretty fortunate to have recently reviewed Hadestown in Boston which is a musical retelling of the classic mythological tale of Orpheus and Eurydice before reviewing Orpheus and the Overworld.  Like Hadestown, Orpheus and the Overworld has appeal beyond what fans of mythology would appreciate. Through Orpheus and Eurydice’s tale in Hadestown hung on a song, Orpheus and the Overworld’s story is a more complicated expansion with a few more key players in the mix. Both productions suggest that retelling the tale offers hope that maybe this time the ending might change even if the gods are still in charge.

Some of the highlights of Meg Lynch’s dynamic set design includes a club-inspired heart shaped glowing sign, sparkling couch overlay, a disco ball as well as colorful florals in a cheerful rural setting while Z Weber’s haunting sound design illuminates both the peerless joy and the powerful dread within this unpredictable retelling.

Matthew Suchecki as Apollo, Kulfi Jann as Hades, and Rebekah Brunson as Artemis in ‘Orpheus and the Overworld’ Photo by Erin Solomon

Decked out in sparkling bangle bracelets and red velvet Greek robed flair with imposing combat boots which highlights a portion of Mikayla Reid’s edgy Greek and dynamic costumes, Kulfi Jann depicts Hades, the god of the underworld and reigns over Club Olympus.  Joining Hades is Lucy Bertolet as Cora mixing the drinks and Matthew Suchecki’s Apollo mixing the tunes as Rebekah Brunson’s Artemis looks on.  This is a new age Hades and this is a new age club, but the snarky banter, gossip, commentary and quips between the gods and their occasional interaction and interference with the retelling of Orpheus and Eurydice have its own amusing moments. 

Isabel Ginsberg as Eurydice and Elijah Brown as Orpheus in ‘Orpheus and the Overworld’ Photo by Erin Solomon

In Hadestown, Orpheus pursued her, but a few things have changed in this retelling.  Isabel Ginsberg’s Eurydice is the pursuer though there is love between them.  Hailing from California, Eurydice is more of a free spirit and determined to have what she wants though the odds are stacked against her.  Elijah Brown’s Orpheus is hesitant, a loner, introspective and perhaps not that into Eurydice because Orpheus is weighed down by not only discovering music, but searching for belonging and identity.  Ginsberg and Brown both have compelling vocals and make some beautiful acapella music together.  However, love is not the foremost thing on Orpheus’s mind. 

Much of this show explores the search for one’s true self, but two who are pretty certain of themselves are Junn as Hades and Brunson as Artemis.  The goddess of wild animals, hunt, chastity and the moon, Brunson delivers a bold, daring and self assured performance delivering quite the fiery warning to Brown’s Orpheus that goes to show that Artemis should not be underestimated.  Junn partially narrates and navigates this tale and is properly threatening and powerful.  Beautiful sun god Apollo amiably  portrayed by Suchecki and Bertolet as brilliant jack of all trades Cora have a sweet camaraderie as they  search for their true selves which takes them to the most unexpected places.

From L to R Lucy Bertolet as Cora, Elijah Brown as Orpheus, and Matthew Suchecki as Apollo in ‘Orpheus and the Overworld’ Photo by Erin Solomon

Though it seems an inconsistent choice to weave science into an enchanted mythological tale, Orpheus and the Overworld extends its world far beyond this classic tale to become its own journey of self discovery while wrestling with one’s past.  Orpheus and the Overworld’s contemporary themes offer some insight into growing into oneself and the struggle to defy one’s destiny to land somewhere beyond your control and find peace in whatever lies ahead…even if you’re a god.

With creative direction by Shira Helena Gitlin, Fresh Ink Theatre Company presented Orpheus and the Overworld live and in person at Boston Center for the Arts through Saturday, May 11.  The gender bending and semi-interactive production show was approximately two hours including a 10 min intermission and was not limited to the stage.  Click here for more information.