Photo C/O Grace Michael 

The setting is simple: only a staircase, two platforms and a bed made of crystals. The show is an adaptation of A Midsummer Night’s Dream written by Trisha Gregorio, directed by Ian McIntosh and performed by the McMaster Thespian Company. I have both seen and performed in A Midsummer Night’s Dream multiple times, and this adaptation was one of the best I’ve seen. Several of the roles in the show are cast as another gender, creating more roles for women, and also a number of queer relationships. In doing so, the play is updated to reflect modern life and love, while still paying homage to the source text.

Several of the roles in the show are cast as another gender, creating more roles for women, and also a number of queer relationships. In doing so, the play is updated to reflect modern life and love, while still paying homage to the source text.

Gregorio’s adaptation sparkles, breathing life into this 400-year-old show. Unlike the original, the show begins with a young girl named Robin falling asleep and waking up in the world of A Midsummer Night’s Dream as the fairy Robin Goodfellow, also known as Puck. Gregorio replaces the beginning of the original play with an opening scene in the ‘real world’ where Robin’s sister is preparing for her wedding day, immediately setting the scene and giving us a sense of the tone for the play. This is a clever choice, as the original opening of Midsummer tends to drag on. The middle of the play is largely untouched, before the final scene where Robin wakes up just in time for her sister’s wedding. This final scene is especially effective, as it essentially modernizes the final scene of Midsummer, putting the words into a modern context. This does an excellent job of combining the modern parts of the play with the classical.

Many of the male roles have been swapped out in this production, including Theseus, Lysander, and all of the Mechanicals — the comedy relief. This is not only a good way to update the production, it is also an interesting callback to the original play, as in the Renaissance every role would’ve been played by men, with young boys playing the women. This adaptation flips that on its head, claiming most of the roles for women.

The whole cast shines, but in particular Jesse Adams as Bottom/Pyramus and Isis Lunsky as Flute/Peaseblossom/Thisbe stole the show. My voice was hoarse from laughing so hard. Their final scene as Pyramus and Thisbe is a true tour de force, with the two alternating between rolling on the floor, dramatically addressing the audience and being forcibly dragged off the stage, reminiscent of old cartoons when a comedian would get pulled off stage by a hook. I found myself impatiently waiting for their scenes to come, fascinated to see what they would do next.

The show balanced its humour with raw emotion. Kat Sliwowicz as Helena and Jessica Quino as Hermia took my breath away as their friendship fell apart, transitioning from heartfelt expressions of affection to trying to physically tear each other apart. I was unsure how effective this would be, given that Hermia and Helena’s initial scene talking about their friendship was cut from the adaptation, but Sliwowicz and Quino’s emotional deliveries more than made up for that absence.

The biggest flaw I saw with the subplot of the four lovers —  Hermia and Lysander, Helena and Demetrius — was that Sliwowicz and Quino had more chemistry with one another than they had with their love interests. It was almost a disappointment that they didn’t end up together. The final reunion of Hermia with Lysander and Helena with Demetrius falls a little flat after the fights between the lovers, making it difficult to root for the couples at the end.

The technical aspects of the show were simple, but effective. The costumes transition easily from one world to another, with bridesmaid gowns becoming Athenian dresses. The setting is also fairly sparse, with only a few set pieces. However, this very cleverly leaves room for the antics of the cast, including Lunsky’s backwards somersault and Quino launching herself across the stage. Each set piece feels intentional and is used effectively.

As I mentioned earlier, one of the biggest deviations from the original play was in changing the genders of several characters. Nearly every character became queer. Rumours have long circulated about Shakespeare’s sexuality, but the fact remains that he wrote 126 sonnets about an attractive young man and a 25 additional sonnets about a woman, both with similarly romantic themes, indicating that he may have been bisexual. In many ways, Gregorio’s adaptation of A Midsummer Night’s Dream opens up this debate, inviting audience members to see themselves and their identities represented in the play in ways they couldn’t before.

In many ways, Gregorio’s adaptation of A Midsummer Night’s Dream opens up this debate, inviting audience members to see themselves and their identities represented in the play in ways they couldn’t before.

Adaptations of Shakespeare can vary wildly, from stuffy four hour, word-perfect runs, to SparkNotes-style abbreviations that lose the meaning. There is a fine line between monotone delivery and over-exaggerating every line, which this production navigates perfectly. The original iambic pentameter is as easy to understand as modern English, making this show a delight for both Shakespeare enthusiasts and people who suffered through high-school English class. 

Overall, McMaster Thespian Company’s A Midsummer Night’s Dream is a delightful romp through the land of the fairies well worth the price of admission. Settle in, sit back and get ready for an evening full of tears, laughter and magic. 

Rating: 4.5/5 stars

A Midsummer Night’s Dream runs from Jan. 24 to Feb. 1 at the Robinson Memorial Theatre in Chester New Hall. You can visit their event page on Facebook for more information and show times. Tickets are $14 for students and $17 for general admission.

 

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Jemma Wolfe
Executive Editor

Q: Why MSND? 

A: I think it is one of the funniest plays ever written. I also felt it would be a good vehicle to explore issues of gender and sexuality in our times.

Q: Why do you think Shakespeare’s work continues to resonate with modern audiences? 

A: Shakespeare wrote for his time, not for all time. His work has lasted because throughout history theatrical buy cialis producers have edited his plays to suit the tastes and morals of their day. In 18th century productions, Hermia and Lysander were accompanied into the woods by a chaperone because no respectable lady would go alone to the woods with her lover. We are simply following in that tradition. Shakespeare’s plays are also particularly complex representations of his society’s social attitudes and this complexity makes it easier to find resonances between his text and our own very different world. Their complexity leaves them open to various interpretations.

Q: Why mix up the genders of the characters?

A: Through our research on the project we came to the conclusion that the categories male and female were inventions of Western culture that limited our understanding of the complexity of gender identity and sexualities. We also wanted to disrupt the more conservative, patriarchal elements of Shakespeare’s text. In Shakespeare’s play, Titania submits to her husband’s will, in ours the significance of this moment is somewhat changed.

Q: Was there anything that surprised you along the production process? 

A: The openness of the cast and creative team to quite radical ideas has made this project a joy. I have learned so much from the students on this one and I am filled with hope about our future.

Sarah O'Connor
Staff Reporter

One of Shakespeare’s most popular comedies, A Midsummer Night’s Dream, focuses on four Athenian lovers who are controlled and manipulated by fairies in a forest. With the many characters and interwoven subplots, the play can be mind-boggling for everyone – at least for the first few scenes.

Taking a new stance on an old classic, Dr. Cockett and his Theatre & Film 3S03 students’ production hopes to “unsettle normative gender dichotomies.” They use cross-casting and gender reversing for some characters in order to make the audience re-evaluate their views of gender, sexuality, and power. I can say with full confidence that Dr. Cockett and his team of students were able to achieve this and much more.

The set was created by Emily Gallomazzei, Nick Kozij, and Ian Wilush. It creates the perfect, fuzzy line between dream and reality. The production makes fantastic use of multimedia, orchestrated by Joe Keca, and very cool lighting, which was done by Carissa Kaye, Anthony Scime, and Jennifer Rossetti.

The doubling of the roles for Theseus/Titania and Hyppolita/Oberon were both extremely powerful and effective decisions. The actors, Dan Megaffin and Julie Lane, showed immense acting skills through their ability to portray such diversity. The mischievous Puck was performed by Phillip Krusto and Claudia Spadafora in a stunning act of unison and with great humour. The chorus of fairies also bring to the production some very beautiful songs and hypnotic-like harmonies.

While the group of the four Athenian lovers were both hilarious and heartfelt it was Miles Greenberg who stole the show with his humourous and heartbreaking portrayal of Helena. The ‘group of actors’ played by Matt Blackshaw, David Jackson, Rex Jackson, Nick Kozij, Sasha Stevenson, and Ian Wilush were hysterical and a perfect end to the show. Ian Wilush’s portrayal of Bottom was also hilarious and endearing.

A Midsummer Night’s Dream continues its stage run in Robinson Memorial Theatre (CNH 101) until Nov. 16. viagra generic Tickets can be purchased at Compass or through SOTA at 905-525-9140 ext. 24246.

Sarah O'Connor
Staff Reporter

A Midsummer Night’s Dream is one of Shakespeare’s most well-known and loved comedies. It is cheaper viagra filled with fairies and magic, chaos and lovers who fall for the wrong person. When I found out it would be the Fall Major this year – suffice to say that I was very excited.

But there’s a twist. The familiar comedy will be performed with a cross-cast of characters, in some instances men playing women’s roles and women playing men’s roles. This production will seek to inspire the audience to reevaluate their views on gender, sexuality, and power.

“We hope to unsettle normative gender dichotomies,” director Dr. Peter Cockett explained about his production choices. “We’re trying to move people beyond the simple division of humanity into the male and the female, masculine and feminine, because those words are insufficient to describe the complexity of human identities and sexualities.”

Last week Dr. Cockett and his production team put on A Mid-Fall Night’s Workshop in Bridge’s Café, a cozy event where members of the McMaster community were invited to discuss and critique three scenes that were performed in a few different ways.

During the workshop, Dr. Cockett went through a detailed slide show about his production choice – what he hopes to achieve with the production, as well as a historical context of the play. Sexual undertones were always present in the play but were not openly recognized in Shakespeare’s time. “I think the approach we are taking is timely and pertinent to our society and I think it’s going to be a really exciting production,” Dr. Cockett explains. “The play is full of references to gender, power, and sexuality so it’s ripe for re-interpretation. Our production simply brings new perspectives to the text, exploring sexual identities that aren’t explicitly referenced in the play, but were still present in Shakespeare’s world as they are in our own.”

As I watched the preview scenes at the workshop, I was impressed and inspired by the actors’ maturity and deep understanding of their characters – they powerfully resisted gender and sexual dichotomies just as Dr. Cockett intended.

“At our auditions,” Cockett said, “we had a series of monologues for male and female characters and people could pick whichever they wanted. The roles they auditioned for weren’t determined by their sex...we were trying to keep as open a mind as possible throughout the audition process.”

The scenes at the outreach workshop were acted out twice, each time the actors portrayed their characters differently, and then asked the audience for feedback. The actors would perform one scene with either a heightened stereotype of masculinity or femininity while in another scene make it overly sexualized while the second would not. I enjoyed the discussion and hearing everyone’s opinions of what they liked and disliked about the scenes, how they related to each scene, and how the audience analyzed the scene on a deeper level.

Dr. Cockett believes McMaster students will enjoy the show for its comedy and for thinking outside the box: “I think it’s going to be very funny...I believe students are interested in relationships and sexuality and I think they’ll have a fun time and be provoked to think about themselves and their own relationships in new ways.”

Keep an eye out next week for an A Midsummer Night’s Dream-inspired photo booth where students can dress-up and have their photos posted in the lobby of Robinson Memorial Theatre during show-dates. Students will also be asked to complete the following card: “what sexy is…” The Outreach Team will be in the Student Centre on Oct. 28th and 30th from 10 a.m. – 2 p.m.

A Midsummer Night’s Dream will be on stage from Nov. 7th to Nov. 16th and tickets can be purchased at Compass or through SOTA 905-525-9140 ext. 24246.

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