Amusing Moonlight Madness at Village Playbox with A Midsummer Night’s Dream

by April Johnson

Before the Bad Bunny concert, I mean, Super Bowl LX, I was fully entertained at Village Playbox production A Midsummer Night’s Dream directed by Natasha Thompson.  This comedic story was written by William Shakespeare in 1595.  Set in Athens Greece, betrothed and star-crossed lovers become entangled, maybe past the point of untying; among other subplots including nymphs, humans and beasts. 

In the opening of the story, Egeus brings his rebellious daughter Hermia in front of the Duke. Egeus wants her to marry Demetrius but Hermia refuses, because she's in love with Lysander. The Duke orders Hermia to obey her father or, according to Athenian law, she must face a death penalty or enter a convent. Hermia and Lysander decide to elope that night. They confide in their friend Helena. Being secretly in love with Demetrius, she tells him of Hermia's plan hoping to win his affection. That night, all four lovers set out into the forest.

Meanwhile, a group of Athenian tradesmen (known as the Mechanicals), led by Peter Quince, are planning to perform a play in celebration of the Duke's wedding. They rehearse The Tragedy of Pyramus and Thisbe in the same forest. Elsewhere in the forest, the fairy king and queen, Oberon and Titania, argue over Titania's refusal to give up her pageboy to Oberon. He sends his servant Puck to find a magic plant to cast a spell on Titania. The pandemonium of pandora’s box….the juice of the plant, when squeezed onto the eyes of someone asleep, causes them to fall in love with the first creature they see when they wake up. The humor unfolds just as much as the commotion. 

With this presentation we make a time warp to the 90s; a park on the East Coast with a castle playground where the nymphs abide and observe the neurotic behaviors of the humans. 

This production expressed enchantment and merry madness, discovery during a journey, love and potions…all wrapped in a befitting ode to the 90s. Thanks to the powerful collaboration of director Natasha Thompson and dramaturg Amber Kusching, Boomers, GenXers, and (early) Millennials will easily grasp themes, easter eggs, nostalgic elements, and beloved tunes that shaped that era.  Please take the time to read the playbill notes from Amber and Natasha. “In our production, we chose to focus on...identity and transformation, dreams and illusions, and gender and sexuality…we can be transformed by both internal and external factors which results in metamorphosis…”  Amber’s mindfulness toward the themes gives even more depth to the production.

The thoughtful planning as mentioned in Thompson’s note was well detailed and well executed.  Paralleling the woods in ancient Athens and a park in the 90s East Coast setting was genius. “The playground represents a structure designed specifically for play…this space is for everyone..” Natasha expressed a simple yet impactful statement discussing her production plans…. “It just felt right”.  Natasha, this was achieved in the same manner—just right.  I suggest that you continue to yield to that sensation when directing your shows. 

It was more than evident the cast developed a keen connection to the director, dramaturg, the script and ultimately each other.  Robert Pacquiao Ruelan befittingly portrayed Theseus, the Duke of Athens.  Not only did Amber Kusching operate as dramaturg; she also seamlessly exchanged cloaks in royalty as Hippolyta and magically as Mote. Jessica Allen Shockley also skillfully demonstrated her acting range as the human Philostrate and pixie Peaseblossom.  Ashley Trasser’s outstanding ability to express Hermia’s myriad of emotions shined through and had wonderful chemistry with her father Egeus played by Doug Cohen. Brian Danner served a barrel of laughs as the devious Demetrius. Kelsey Ryan gave balance by revealing the compassionate capacity of humanity as Lysander.  EmilyAnne McDermott was marvelous as the melodramatic Helena. 

Samantha Wentz was a delight as the playful and intrusive Puck.  Sheila McDonald and Katy Keller rounded out the fairies, who lyrically led a chorus with a popular 90s melody that we may find ourselves humming along.  Jim McDermott and Pamela Burke were magnificent and commanding as Oberon and Titania,  monarchs of the fairy world.  

The sidesplitting laughs were provided by the mechanicals/tradesmen.  Greg Pettiti was quite entertaining as the eccentric leader Peter Quince.  Nick Bottom, the hyperexcited actor of the group, was riotously delivered by the physically comedic Stephanie Rose Hofstetter. Also conveying physical comedy, Rebecca Friedman was amusing even while munching on a bag of an old favorite onion snack as Robin Starveling. Daniel McDevitt, Kevin Dahm and Fred DeFeo worked as a trio of menacing hilarity as Francis Flute, Tom Snout and Snug the Joiner. 

Samantha Harner served as Stage Manager beautifully moving the performance from scene to scene. Set design was by Natasha Thompson, Steve Allen, and Mike Tursi giving us the complete and detailed playground with graffiti covered walls, blocks, and bumper designed garbage cans. The set was functional and well utilized in every aspect.  Bill Binder, Mike Tursi, and Ken Van Dyk lent their talents to set construction.  Assisting Thompson, Donna Allen, Anita Rowland, and the cast participated with costuming transporting us to the times of preppy plaid, grunge gear, lace and leather boots.  Props were coordinated by Thompson, Steve Allen, Anita Rowland, as well as the cast. Lights and sound were coordinated by Gary Kochey, specifically signifying magical actions in midnight.  Brian Danner expertly coordinated fight choreography. Special costuming was provided by Leah Kennedy and Holli Allen (Vira Studios).

Although filled with laughter, there are a few thoughts we can take with this show. We can get lost in the woods while chasing love, but we can also discover our true selves and destiny navigating our way through it.  What may seem to be reality, could very well be a fantasy.  What (clueless) fools we mere mortals (and mythicals) can be—but in the end, wisdom arises (if applied). If you need a good laugh and want to support the arts, please make your way to Village Playbox to view A Midsummer Night’s Dream.  

Performances will convene on February 13^th and will conclude on the 21^st (February 13, 14, 20, & 21, 2026 at 8:00PM; February 8 & 15, 2026 at 3:00PM).  For tickets, visit  http://www.villageplaybox.org/tix/checkout.htm.