USM is well known for its often sharp and poignant-but not exactly comedic-plays. That changed this weekend, with “A Midsummer Night’s Dream,” USM’s first full-blown comedy in over two years. The commotion surrounding the University’s production had been growing since tryouts were held last semester; by dress rehearsal this past Wednesday, the five-day performance, held in Gorham’s Black Box Theatre, was completely sold out.
No expense or effort of the imagination was spared on any aspect of this production, with the costumes and stage set among the most ingenious and sexy this reviewer has seen on such a small stage. Mad props (no pun intended) go to the designers, Jesse Pilgrim and Kate Law. As conceived by Director Lindsey Higgins, the setting was modern. While the original Shakespearean text was retained, the locale was changed to a nightclub. Oberon and Titania were the owners, and Puck the impish slave. For those who knew the play, the characters weren’t hard to pick out, but the dress and clothing changes might have caused a moment’s confusion.
Puck and Oberon reminded this reviewer of a well-known picture of Marylyn Manson holding a bottle of Absinth. In fact, the potion used and misused on Lysander and Demetrius both bore a sharp resemblance to Absinth. The concept for the setting was originally a rave, but was changed to a nightclub, alluding to the practical implications of a place where love is always stupored and affection often misdirected.
In the first half of the show, there was a wonderful strip scene, in which a pole was erected backstage, around which fairies danced. The only change that may have caused confusion was Oberon and Titania’s double roles as Theseus, Duke of Athens, and his wife, Hippolyta. Oberon and Titania were meant to be fairies playing those parts.
Another purely entertaining part of this production was the play’s group of dunces who leave Athens to practice their play, which they will present to the Duke. This part of “A Midsummer Night’s Dream” has often gone unnoticed because of its brevity and seemingly unrelated subplot. Here it is given nothing less than a rendition to rival that of a scene in the 1996 sleeper hit, “Waiting for Guffman.”
The comedic tone in this production will hopefully start a trend extending to future plays to be chosen. While everyone enjoys a thought-provoking-and generally depressing-show every now and then, sometimes there is need to check our tears at the door. The side splitting yet morally grounded “A Midsummer Night’s Dream” achieved just that. Booming ticket sales and favorable audience reaction will hopefully show actors and the powers-that-be in the theatre at USM that a great comedy is always much appreciated.