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Ryland Dodge (Puck) and Douglas Bilitch (Oberon) star in "A Midsummer Night's Dream."(Photo courtesy of Alysa Brennan) |
The fairy-filled woods of "A Midsummer Night's Dream" have taken over the Hermosa Beach Playhouse, and the enchanted look and whimsical tone of the production serves as a solid reminder of why Shakespeare remains a mainstay of the summer theatrical season.
Civic Light Opera of South Bay Cities artistic director Stephanie A. Coltrin opted - for the company's first foray into Shakespeare - to stick to the classic style, which is becoming rare. Coltrin also edited the script to achieve a running time of a bit more than two hours, and she did so without losing too much of the story or some key exchanges.
Though some of the pacing is uneven, the solid performances, combined with a captivating set and an array of attractive costumes, deliver a mildly humorous and dreamlike "Midsummer."
The appropriate mood is set before the first scene, thanks to Christopher Beyries' ambitious set, which serves as Athens, and the woods where most of the action takes place.
It's into the woods that Hermia (Michaelia Leigh) runs away with her love, Lysander (Brad Standley), because she refuses to marry Demetrius (Cylan Brown), the man chosen for her by her father.
Helena (Beth Moline), in unrequited love with Demetrius, tells him about Hermia's plans, hoping in vain to gain his favor.
Of course, the woods are enchanted with fairies, and Oberon (Douglas Bilitch), the king of the fairies, is up to mischief with his servant Puck (Ryland Dodge) and a flower that has the power to make someone fall in love with whomever is seen.
Thanks to Puck's blunders, love is in ruins, and Titania (Suzanne Dean), the queen of the fairies, becomes infatuated with Bottom (Nicholas Mongiardo-Cooper), part of a local acting troupe, whose head has been turned into that of a donkey by Puck.
The Athenians are clothed in high-styled Victorian-era dresses and suits, which contrast sharply with the nature-theme outfits of the fairies. And Beyries' multilevel set, which contains hollows for hiding, allows for multiple interactions to occur simultaneously.
Ric Zimmerman's lighting design includes hidden bulbs throughout the stage that create a sparkle effect when the fairies perform magic.
The strongest comic moments come from the four lovers - in particular Helena - thanks to Moline's desperate portrayal, which includes Helena literally throwing herself at Demetrius. Equally funny is Standley's portrayal of Lysander, in particular when the bewitched Lysander shows complete disdain for Hermia, to the point that he looks as if he's nauseous.
Even romantic comedies need a villain, and Bilitch, with his evil laugh, turns Oberon into the fairy you love to hate. And Dodge creates a Puck that is playful but with a sinister edge.
The pace lags a bit during scenes with Titania and the fairies. And the first act comic bits with the acting troupe fall flat, including a muddled transformation of Bottom into a donkey, and an overly long reaction to his dramatic change.
But there is redemption in the second act, as the troupe's play within the play is meticulously executed mayhem.
This "Midsummer" may not be a perfect dream, but it's a pleasant diversion. And Shakespeare's arrival at CLOSBC was overdue.
Jeff Favre is a freelance entertainment writer based in North Hollywood.
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