A Review by Val O’Bryan for Front Row Reviewers
What better time to enjoy Utah Shakespeare Festival’s A Midsummer Night’s Dream than a breezy July evening in the open-air Engelstad Shakespeare Theatre? The Elizabethan-inspired architecture of the Engelstad is the perfect backdrop for this multi-plot production filled with mischief and magic.
Before the play begins, the audience see the “mechanicals” bustling around the stage, working at their trades and dropping subtle hints of things to come. The actors walk in measured straight lines and make pivots to turn corners, reminiscent of the rigidity of military marching. As the play begins, the other characters match this style of stage navigation. Could this manner of movement illustrate the traditional leadership and order of Theseus’ court? I will let the audience decide.
Theseus (Corey Jones) has a commanding presence that establishes the climate of his court. Although Hippolyta (Cassandra Bissell) has few lines in the first act, her actions and facial expressions in response to Theseus reveal exactly what she is thinking. A father-daughter conflict interrupts the wedding planning of Theseus and Hippolyta and presents a love triangle to Theseus’ court. Egeus (Nathan Hosner) is upset that his daughter, Hermia (Naiya Vanessa McCalla), is in love with Lysander (Aamar-Malik Culbreth) and refuses to marry the man that he picked out, Demetrius (Ty Fanning). A triangle becomes a rectangle when Helena (Kayland Jordan) intervenes, and all four young romantics end up lost in the forest. The chemistry between these four actors is electric. As best friends, ex-friends, rivals, and spurned lovers, the exchanges between Hermia, Helena, Lysander, and Demetrius are edgy, relatable, and hysterical. One of my favorite moments is when fighting choreography turns into a different kind of choreography, thanks no doubt to Paul Dennhardt, Caitlyn Herzlinger, and André Spathelf-Sanders, the fight director, intimacy director, and choreographer, respectively.
While the humans are running around the forest, the fairy kingdom has parallel plotlines that are also mischievous and enchanting. Fairy King Oberon and Queen Titania are played byJones and Bissell, holding with the tradition of connecting the human and fairy worlds. This production added a child to the human court to complement the storyline of the changeling child (played by Zacory Packer and Tessa Walker) in the fairy court. Another fun connection between worlds is the double-role casting of Max Gallagher as Philostrate and Puck. Gallagher transforms between roles and is captivating as the ethereal Puck. The insistent meddling of Oberon, combined with the mistakes of Puck, results in confusion and chaos as the romantic pairings get tangled and challenged. Director Jessica Kubzansky and dramaturg Isabel Smith-Bernstein created strong connections between worlds and cohesion of the plot lines and conflicts through these casting choices and additions.
In the same forest, Petra Quince (Alex Keiper), Nick Bottom (Topher Embrey), Francis Flute (Dylan J. Fleming), Tom Snout (Marco Antonio Vega), Snug (Ryan Ruckman), and Robin Starveling (Braedon Young) work hard to prepare a play for Theseus and Hippolyta. Despite the “merry” and “tragical” nature of the production, preparations are going well until Puck transforms Bottom’s head into that of a donkey. His cast mates run away out of shock, but Titania sees him, falls in love, and introduces him to the fairies Thistleweed (Matthew Wangemann), Cobweb (Maureen Azzun), Peaseblossom (Deseree Whitt), Moth (Taylor Hendricks), Mustardseed (Ashley Aquino), and Fiddlefern (Zina Johnstun). The fairies don exquisite costumes and headpieces by costume designer Ann Closs-Farley and assistant costume designer Whitney Oppenheimer. Fiddlefern is especially busy during the production, playing auxiliary percussion instruments to add even more charm and bewitchment to the mystical music and sound designs of composer Joe Payne and music director Brandon Scott Grayson. The set designed by scenic designer Jo Winiarski helps the audience transition from court to forest and back. The colors of the forest are a vibrant contrast to the long, unrelenting vertical lines of the court. The lighting choices by lighting designer Robert Aguilar help sharpen the audience’s focus and the internally lit columns emphasize the magic that is happening. The lines are all delivered beautifully and with superb expression with the help of voice and text coach Josh F.S. Moser. Stage manager Sarah Goshman keeps everything running smoothly.
Eventually, the chaos and confusion subside, Bottom is restored to his true form, and all the relationships repaired in time for a massive wedding celebration. After the wedding, the amateur actors perform their play for Theseus’ entire court. Each member of the troupe truly shines as they play their parts. Their retelling of the story of Pyramus and Thisbe is hilarious (and perfectly mockable, as audiences will notice from the response of Theseus’ court), providing a comical end to the dream-like events that unfolded. Come to Utah Shakespeare Festival in Cedar City, enjoy the fantasy this summer, and be transformed.
Utah Shakespeare Festival presents A Midsummer Night’s Dream, by William Shakespeare.
Engelstad Shakespeare Theatre, 351 W Center Street, Cedar City, UT 84720
Plays on select dates until September 9, 2023, 2:00 PM and 8:00 PM
Tickets: $15-85
Contact: 435-586-7878 or 1-800-PLAYTIX, guestservices@bard.org
Utah Shakespeare Festive Facebook Page
(Photos by Karl Hugh. Copyright Utah Shakespeare Festival 2023.)
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