As I walked out of the theatre after seeing In The Moment Productions’ update of A Midsummer Night’s Dream, a wave of confusion passed over me-had I just seen a Shakespearean play, or a John Hughes movie?
This update of William Shakespeare’s popular comedy relies far too heavily on a gimmick that gets tired fast. However, it manages to be saved by strong acting and the enduring brilliance and appeal of Shakespeare’s text.
Directed by Ericka Skirpan, this production replaces the original setting of ancient Athens with the much more contemporary backdrop of the 1980s. The four young lovers are in full Brat Pack mode, with leg warmers, high-top sneakers, and side ponytails; the fairies adopt the androgyny and glittery eye makeup of 80s glam rockers; and the members of the acting troupe take on the personas of gangsta rappers and recite most of their lines with a rhythm reminiscent of MC Hammer.
Unfortunately, the retro theme drowns in its own irony. Titania’s fairy attendants singing an off-key rendition of “99 Red Balloons” and Bottom and his fellow actors reading most of their lines in rap style are ploys for laughs that seem far too desperate in a play that is meant to find its comedy in a subtle and intelligent fashion. With the exception of Ted Witzel’s Oberon, whose multi-coloured mohawk, ripped jeans, and blue glitter makeup complement the cunning and slightly naughty character of the Fairy King, the tacky costumes and gimmicky gags of the 80s motif weaken a play that should be simple and rely on the wittiness of the plot and words themselves.
While Skirpan’s direction provides good structure, solid acting by the cast is what truly brings the play to life and even manages to overcome the crippling effect of the stillborn 80s theme. Alan Campbell and Josh Shessel fare well as Lysander and Demetrius respectively, and Brianna Goldberg brings an unexpected (but welcome) silliness to the role of Hermia, who is often played as refined and elegant. Ted Witzel and Farah Merani are great as the sexually charged fairy sovereigns Oberon and Titania, and Sarah Warren gives a delightful supporting turn as the hilariously shrewish and alcoholic Hippolyta.
However, the best performance by far comes from Phil Rickaby as Puck. Looking like a young Willem Dafoe with devil horns and a goatee, and with an impish glint in his eyes, Rickaby plays Puck with a hint of maliciousness, clearly savouring the havoc he has wrought. Whether he’s hopping about the stage, clapping his hands with sheer delight as the lovers squabble, or grudgingly strumming a ukulele while the fairies warble “99 Red Balloons,” Rickaby is a joy to watch.
I’m a traditionalist when it comes to Shakespeare-nevertheless, it seems that the unnecessary update is a desperate attempt at originality, and proves to be this production’s greatest flaw, especially in regards to the complete destruction of the Bottom and Mechanicals subplot. However, thanks to solid direction and a talented cast, this new campus theatre company’s version of the classic has its moments.
