Midsummer is a Dream at Players Club of Swarthmore

by Aimee Ferenz

The hijinx was alive and well at the opening performance of A Midsummer Night’s Dream at the Players Club of Swarthmore. The Shakespeare classic depicts three overlapping stories as they weave together in the woods outside of Athens. The first story is of Hippolyta/Titania and Theseus/Oberon follows the infidelity between the two couples (played by the same actors). Oberon pranks Titania with magic so that she falls in love with the first beast she sets her eyes on in an attempt to make his infidelity seem less significant. The second is of Hermia, Helena, Demetrius, and Lysander; four young adults whose love is overlapping and changed by fairy magic throughout the show. Thirdly we follow the Mechanicals, a theater troupe that is attempting to perform a production of Pyramus and Thisbe for the royal family, Hippolyta and Theseus. This particular interpretation of A Midsummer Night’s Dream is taking place in the Woodstock era of 1969 with a lot of crochet, drugs, and modern attire. Before the show starts, there is preshow music in the theater with a live band that brings the audience directly into this theme which continues throughout. 

The adaptation/direction by Kayla Bowe and new music/music direction by Jeff Smith are beautifully designed and executed. The show is fresh, beautiful, and vibrant with the help of period appropriate clothing, a versatile set, and psychedelic rock music. It is clear that Smith and Bowe have a crystal clear understanding of their vision. Even further, Bowe’s comprehension not just of the plot but of every single line is deeply impressive. The cast has been led by this iron grasp on the text to a hilarious and charming production that is easy to follow. The performance is larger than life and exactly as Shakespeare had intended over four hundred years ago. I love the set design and its versatility as well as the use of lights during the more magical moments. I must also commend the crochet on stage as it is the perfect addition to the theme. The production staff includes Anne Marie Scalies (Producer/marketing), Karla Bradley Manhard (Choreography), Sean McDermott (Stage Manager), Geena Shaw and Hope Smalley (Assistant Stage Managers), Brian Jacko (Set Design), Michelle Kilmer (Sound Design), Taron Goldsboro (Sound Board Operator), Lucy Moth (Costume, Wig/Make up Design), Doris Chan (Crochet Design), Zoi Mg McNamara (Costume Support) Denise Kolodziej (Props Design), Abraham Bogale (Lighting Design), Ed Robins (Master Carpenter), and Jeff Martin, Amanda Pasquini, and Eric Raymond (Marketing). 

Every performer in this production is giving 110% to the chaotic nature of the show. They embrace the magic magnificently, taking the audience along for the ride. Thomas-Robert Irvin (Theseus/Oberon) and Elizabeth Clarkin-Breslin (Hippolyta/Titania) have an incredible connection in both of the roles that they share together, embodying the sexual energy that has been complicated by years of insincerity. Irvin’s depiction of both roles is fully formed and entertaining; his timing is impeccable both physically and vocally. Clarkin-Breslin is captivating in her roles, injecting a consistent sensual energy into both characters which is a necessity due to the plot. They are accompanied by Johnny Brown (Robin Goodfellow/Puck) who acts as a mischievous assistant to Oberon, causing most of the mayhem both by accident and by choice. Brown’s understanding of the role is simple but effective. He is sure in his actions without turning them into a caricature which, in the nature of this show, is a necessity. 

The four lovers, Janae Hundley (Helena), Angelina D. Canavan (Hermia), Samuel Johnson (Lysander), and Dan Jankauskas (Demetrius), are expertly depicted by this quartet of actors. Canavan’s depiction of Hermia is beautifully complex as she attempts to keep the lid on her bottled up stress until she can no longer handle it and explodes in act 2. This calmness is balanced by the heart-on-her-sleeve Helena. Hundley is a powerhouse on stage as she embraces the crazed nature of Helena’s adoration of Demetrius. She brings us along in her story from the jump just as Canavan does. Together, the two create a story that is easy to follow while maintaining the zany quality of their plotline. Johnson and Jankausas match the energy of their counterparts, even showing the way that the couples match up with similar depictions. For instance, Johnson is able to meet Hundley at her mark and even challenge her which provides the actors with an equal to work with. Jankauskas has a more subdued stage presence which works perfectly in the part of this quartet. Lysander is a romantic interest and a natural pair for Hermia just as Jankauskas and Canavan pair perfectly on stage. 

The cast continues to offer incredible stage presence with Lauren Grondel (Philostrate/Fairy 2), Amy Goldman (Egeus/Fairy 1), Victoria Heppard (Head Fairy), and Ryan Walter (Nick Bottom). Walter keeps the audience guessing (and laughing) as he gives a hilarious depiction of Nick Bottom. His interactions with other actors are top notch as he brings his castmates along for the ride of Nick Bottom’s emotional rollercoaster. Goldman continues this effort beautifully as Hermia’s overprotective mother (originally written as a father in the text). Goldman’s depiction is highly relatable to any person who was raised by a woman who tends to clutch her pearls and it is her heartfelt concern that gives Canavan two places to be pulled by in her decision to run away. Heppard brings an earth shattering voice to the role of Head Fairy, a role that previously did not contain music. This role is, quite literally, written for Heppard and it fits her like a glove. Grondel continues the theme of stage presence and excellent actor connection as the court member to Theseus. 

The cast is completed by extremely talented individuals who are either members of the Mechanicals or the Fairies. John Parkinson plays the patient director, Peter Quince, who must work with Nick Bottom and friends as they put together Pyramus and Thisbe. The other members of the Mechanicals includes Brendan Sterling (Francis Flute), Joseph Valenzuela (Robin Starveling), Autumn Scouten (Ton Snout), and Desiree Lara (Snug). I must particularly commend Sterling for his facial expressions and constant commitment, particularly when the prop knife broke in his hand before he was about to stab himself. I have yet to figure out if the knife breaking was intentional or an impeccable example of thinking on his feet. The fairies include Sofia Brzezicki (Peaseblossom), Harley Roach (Cobweb), Bethany Bryant (Mote), Allie Coeby (Mustardseed), as well as Grondel and Goldman. 

Overall, I am enamored by this production. PCS has taken a work that has existed longer than America itself and made it fresh and exciting. They have taken Shakespeare and made it attainable by embracing the way that he intended his story to be told and I believe that he would have been proud. There are moments in the show that, even with the original Shakespearean text, are so modern and delightful. The cast comes together under the unparalleled direction of Kayla Bowe to bring incredible theater to Delaware County. I don’t think I’ve ever laughed as hard as I did last night at a community theater production. Shows continue through August 24th and tickets can be purchased online at pcstheater.org and in person at the box office.