Neptune Theatre is gearing up to transport audiences to the 1920s with Jeremy Webb’s adaptation of Shakespeare’s A Midsummer Night’s Dream.
There are still fairies, there’s still Puck, and they’re still lovers getting lost in the woods, fighting with each other and declaring love all over the place. But with a little extra sass and sexiness laid on top. – Jeremy Webb
Inspired by a production of Cabaret Webb saw in London, the musical got him thinking about providing a similarly immersive show for Halifax audiences with the Bard’s comedy.
“I was looking originally at doing it in a sort of Studio 54 setting,” says Webb, but when another company beat him to that concept, he explored other periods. “I decided to go digging for another decade that is sassy, sexy, and potentially sleazy. And of course, secretive.” This led him to the glitz and decadence of the 1920s, a fitting backdrop for Shakespeare’s fantasy of love, jealousy, and enchantment.
In Webb’s vision, the characters are thrust into a shadowy, underground world of a speakeasy where the lines between reality and fantasy blur. “The lovers go to this bar to celebrate an upcoming wedding, and they get sucked into this fantasy world of debauchery and booze and drugs,” he says.
Despite what is being billed as “a darker and grittier interpretation” of Shakespeare’s play, Webb assured that the play retains its comedic essence. “It’s still very much the Midsummer Night’s Dream we all know and love,” he says. “There are still fairies, there’s still Puck, and they’re still lovers getting lost in the woods, fighting each other and declaring love all over the place. But with a little extra sass and sexiness laid on top.”
The immersive nature of the production extends beyond the stage. A pre-show is set in a speakeasy-style club called Shadows, named after one of Puck’s lines in the play: “If we shadows have offended.” Each night, 24 audience members will be treated to an exclusive hour-long immersion in the speakeasy, complete with burlesque performances. Kathleen Dorian, who plays Lysander, noted that the pre-show’s interactive element bridges the immersive club scene and the main performance. “It’s a fun and immersive way to prepare the audience for the main event,” she says.
For those audience members who do not participate in the speakeasy pre-show, Kih Becke, who plays Helena, says they will not be left behind. “Later in the show, we do a very cool, quick little recap of what the rest of the audience missed because they weren’t on stage with us,” she says.
Another striking element is Webb’s approach to casting the play with veteran actor Walter Borden, in his 80s, taking on the role of Puck. “One of the most revelatory moments was when I realized I wanted to cast Walter as Puck,” says Webb. “It’s a very different take on that character and it is very exciting to see one of Canada’s most distinguished actors playing a role he didn’t expect at this point in his life.”
The visual elements, including Kaelen MacDonald’s costume design, also play a vital role in bringing Webb’s vision to life. “The costumes are inspired by burlesque performers, which enhances the experience,” says Santiago Guzmán, who plays Demetrius.
Sophie Wilcott, who plays Hermia, emphasized the importance of the show’s diverse cast. “It’s a reminder that Shakespeare is for everyone and this production is a testament to that,” she says.
Webb’s adaptation also plays with gender fluidity. “One of the actors expressed interest in playing a traditionally male role, and I thought, why not? The fluidity of the time and setting supports it. It’s an enhancement, not a distraction,” he says.
The cast, a blend of new and familiar talent, expressed excitement about the production’s unconventional approach. For Guzmán, being in this production feels like a full-circle moment after moving to Canada to study Shakespeare. “I did this show in Spanish 11 years ago in Mexico,” says Guzman. “Now, nine years into my life in Canada, I get to do it in English, and it’s so special to me.”
Wilcott is excited to perform in such an innovative production and hopes audiences leave the theatre feeling joyful and entertained. “I think that the biggest gift about being in the show is that it’s so diverse in many ways,” she says. “This production is a celebration of love, laughter, and the power of imagination.”
Becke hopes this production’s innovative nature will open audiences to a new world of possibilities. “A lot of classical theatre is typically done in very boxed ways, and this show is so out of the box in so many ways,” she says.
At its core, Neptune Theatre’s A Midsummer Night’s Dream aims to challenge traditional expectations while remaining accessible. “Shakespeare is for everyone,” says Wilcott, underscoring this adaptation’s inclusive and fresh approach.
Neptune Theatre presents A Midsummer Night’s Dream from September 10 through October 5 on its Fountain Hall Stage (1593 Argyle St, Halifax). Visit neptunetheatre.com for tickets and information.