Neptune Theatre kicks off its 2024-2025 theatre season with a gloriously giddy production of Shakespeare’s A Midsummer Night’s Dream.
Not only will it have you smiling from start to finish, but it is also the benchmark for what is possible with non-traditional casting. It is also an example of the potential risk in adapting Shakespeare’s plays when a cast is more than capable of carrying it on their shoulders without the need for an unconventional staging.
The Story
There is a reason A Midsummer Night’s Dream remains one of Shakespeare’s most-produced plays and the most popular amongst his comedies. Not only does it combine the ridiculous story of four young lovers enchanted by the fairy Puck to make the two boys fall in love with the same girl, Oberon tricking fairy queen Tatania into falling in love with a member of a travelling amateur theatre troupe magically transformed, but also offers an equally ridiculous play-within-a-play as that same troupe performs the story of Pyramus and Thisbe.
With so much going on, the imperative, like any Shakespeare production, is clarity of story. There is no need to worry here, as Jeremy Webb’s deft direction makes the three storylines within A Midsummer Night’s Dream crisp, clear, and equally hilarious. He is helped immensely by what he refers to as his “small but mighty cast,” many of whom take on multiple roles.
The Players
With a diverse and gender-bend company of actors, it is evident that Webb has cast his players based on their skills rather than any preconceived notion of who or what they should be. And it shows, without a single weak link in this cast.
With its refreshing mix of newcomers and veterans, everyone appears to have the time of their lives even before the curtain rises (more on that in a bit). And while enthusiasm for the material can sometimes be a mask for a superficial understanding of the text, there is no such problem here.
As a true ensemble work, picking out individual performances is challenging. Everyone here is confident in their roles and recognizes one of the basic tenets of the stage: it is as much about the reaction as it is about the action. Embracing director Webb’s silly stage business, this cast is also fearless.
Whether it is the four lovers, played with almost wild abandon by Kathleen Dorian, Santiago Guzmán, Kih Becke, and Sophie Wilcott, who also make seamless and unique transitions into other characters, or Emma Slipp and Kait Post, who are pitch-perfect as the mischievous Oberon and Titania, each member of Webb’s gathered cast, including Catherine Richardson, Michelle Langille and Ailsa Galbreath appears to be at the top of their game, even if that game has been relatively short for some.
However, a couple of juicier roles in A Midsummer Night’s Dream await the right actor to tackle them.
As Bottom, a member of the Athenian theatre troupe, James MacLean gives a hilarious yet grounded performance that will undoubtedly be difficult to ignore at this season’s theatre awards. His transformation, assisted by costume designer Kaelen MacDonald, is uproariously funny.
And then there is Walter Borden as Puck, the devilish fairy who serves the fairy king Oberon. Borden brings his veteran stage presence to a role usually played by younger actors, giving him the added dimension of wisdom to this potentially two-dimensional character.
The Backdrop
Having reviewed countless Shakespeare productions over the years, I have witnessed everything from a Hamlet set inside an upscale condo to a Beatles-infused production of As You Like It and an all-female version of A Winter’s Tale. Some have been more successful than others, but the truly memorable ones have ensured The Bard’s original story does not get lost.
In this adaptation, Webb has placed the action in the Roaring Twenties, a time of burgeoning liberalism, which, on its surface, appears to be an ideal match for the wild shenanigans found in this Shakespeare comedy.
Having completed his adaptation long before he cast this production, had Webb had a crystal ball, he would have realized that with the talent eventually gathered, he could have just as easily done it on a bare stage. This comment is not meant to take anything away from the success of this production or the adaptation but is a simple testament to the skill of both director and actors alike.
The Creative
Kaelen MacDonald’s costumes, with assistance from Schuÿler Edgar Holmes, not only worked well for the period but, more importantly, often became a reflection of the non-conventional casting. Designer Holly Meyer-Dymny’s deco-inspired set gives the actors multiple levels to work with. Lighting designer Jess Lewis gets many moments in their own spotlight with some remarkable scrim lighting effects, and Aaron Collier’s sound design and original music help perfectly underscore the action.
The Speakeasy
As guests who attend the production’s pre-show are bound to secrecy, the “naughty” details here will be slim. Suffice it to say it is a delightful way to get into the spirit of what you will see on stage. It is well worth the investment of a $10 add-on to your ticket.
The Bottomline
Last night, after watching A Midsummer Night’s Dream, I was invigorated. This show deserves Halifax theatre-goers’ attention. It should be the first sell-out of what looks to be a compelling line-up at Neptune this year.
A Midsummer Night’s Dream by William Shakespeare. Adapted and directed by Jeremy Webb. A Neptune Theatre production. On stage at Neptune Theatre’s Fountain Hall Stage (1593 Argyle St, Halifax) until October 5, 2024. Visit neptunetheatre.com for tickets and information.