A Midsummer Night’s Dream

Reviewed by Holly Bartges

A Muse of Fire Theatre Company and Miners Alley Playhouse currently plays Shakespeare’s magical romantic comedy A Midsummer Night’s Dream. “Plays” is a key word, play on stage, they do.

It first of all, has to be said that credit must be given to Rick Bernstein and Robert Kramer for creating A Muse of Fire giving young actors an amazing opportunity to shine, stretch their wings, and discover how far they go and in what direction. Muse of Fire provides them opportunity to play roles they otherwise wouldn’t have a prayer of a chance to dig their claws into. For young actors who dream of such opportunities, this definitely is the place to be.

At the same time, it is also a perfect opportunity for producers and directors to sport their scouting skills for fresh new talent. That being said, it would also seem that the powers that be would choose plays to showcase the talent to the best of everyone’s ability. No question, the cast is having a blast on stage, enjoying every minute. This time they bit off more than they could chew.

Because of the sing-song Shakespearianesque tone of voice, racing through lines of unfamiliar word usage, swallowing already muffled words, many in the cast have no idea what they are saying, much less doing. Shakespeare wrote in the street language of his day. When the words are understood, the dialogue is natural, relaxed, and conversational.

Midsummer lends itself well to being transformed to anyplace, anytime. Kramer’s decision to place it in New York City with Central Park as the magical home for fairies is brilliant. Why the fairies would be disguised as homeless people alludes the senses. Kramer mentions this in his director’s notes in the program. Unless the fairies were having a masquerade ball, or a costume party, it is incongruous for them to be dressed as homeless people. The program note does explain the hodgepodge of costumes the fairies wear. Otherwise it appears as though someone went into a back room of a thrift store blindfolded and just grabbed. Magical fairies would hardly succumb to hodgepodge.

There are bright spots in this production. Julie Rada as Hermia spoke with meaning and distinctly. She portrayed a Hermia google-eyed and deeply in love with Lysander (Isaac Brown). Jake Smith gave a totally delightful comedic Nick Bottom punching in the humor when he was accidentally turned into a jackass.

Jeff Haas showcased a great deal of talent in playing the double role of Duke Theseus and Oberon. He gives two distinct characters with purpose, meaning and understanding.

Incorporating contemporary music played well. Stephanie Prugh’s choreography served the fairies well with steps geared toward the ability of the dancers.

And then there’s Puck. Rachel Graham is not only obviously a dancer, with agility to marvel over, with talent oozing out her eyeballs, and adorable as the dickens, but Puck is not a girl, no matter how cute and mischievous the antics on stage become. The role so vital to the development of the Shakespearian frolic greatly diminished. PUCK IS A BOY.

Lasting 30 minutes longer than it could have, the slapstick antics of the roving actors get carried away with silliness for the sake of silliness.

Act Two plays with more energy than Act One. Choreography for the fights scenes is brilliantly handled by design and by the actors, providing some genuine hilarious moments. Matthew Beckett’s innocent and naive facial expressions as an outrageous Juliet tickle the funny bone. A great deal of talent lurks under that Arapahoe High School junior’s exterior.