And I do have to call it Julie Taymor’s Midsummer. The famed Lion King director brings her unique vision to the Bard’s classic comedy, and it’s a match that needs no love potion from a fairy to make a connection.
The spirit world is vibrantly brought to life through a combination of lights, music, sound effects, and small children scampering about the stage. A sweepingly large white sheet frequently dominated the set to create a flowing airy effect or provide a grand canvas for projecting artistic visions of fairyland. The effects were often awe-inspiring and added to the magic of the play. But the spectacle was mostly contained to the spaces between the scenes, weed wide enough to wrap a fairy in. The scenes themselves were as they should be, an expression of the comic and poetic brilliance of the script by talented actors. And because the cast was in top form across the board, the supernatural effects were a welcome addition rather than a distraction from the text, which is always a danger.
Leading the dramatis personae is Puck (Kathryn Hunter), the impish impresario of other-worldy entertainments. Wearing a Caberet-style bowler hat, Hunter presides over the rest of the cast with charm and humor, as an auditor and as an actor too. Oberon (David Harewood) and Titania (Tina Benko) also deliver outstanding performances. They are quite simply gods, and they dominate every scene they’re in, including when they have scenes together. This is made possible by a starkly contrasting color scheme in their costumes and makeup, so each can dominate an entire realm while co-existing with the other. The White Queen and the Black King square off on a chessboard with human pieces.
Some of these human pieces include the young lovers (Zach Appelman, Lilly Englert, Jake Horowitz, and Mandi Madsen) whose actors breathe fresh life into the quarreling quartet. Midsummer can’t really work unless the four-way forest fight works, and the bewitched lovers are aided in this by a company of young fairies ready to supply them with encouragement and pillows. It reminds us that we’re watching a comedy, and even the fighting is all in good fun.
Interspersed within the magical and romantic scenes are visits to the rude mechanicals preparing their play. The ensemble comprises a mix of broad working-class stereotypes that somehow manage to balance themselves out. Max Casella steals the show, as Bottom always does, but his comrades-in-arms (Brendan Averett, Joe Grifasi, Zachary Infante, Jacob Ming-Trent, and William Youmans) each get a chance to shine, whether they play the Moon or no.
A Midsummer Night’s Dream will be playing at Theatre for a New Audience through January 12. This one is well worth checking out. And if you have kids, bring them. This might be the production that gets them hooked. Picture Broadway sensibilities mapped onto an Off-Broadway venue, with a script by Shakespeare and a touch of magic in the mix. Prepare to laugh and gasp and beam and cheer. And then, to awaken as from a dream, as your joy and amazement lasts for a few extra wonderful moments as you step into the neon glow of the surrounding Brooklyn neighborhood.