Real Critics Editor/Publisher
Shakespeare in the Vines showed the timelessness of Shakespeare's words by presenting his classic comedy "A Midsummer Night's Dream" in an ambiguous and dreamlike state.
SITV Artistic Director and Production Director Sheila Ryle made the "Dream" literal by starting and ending the show with the actors sleeping on stage with props that appropriately represented their characters. Helena had a picture frame, likely with a photo of Demetrius, while Demetrius slept with a copy of Maxim magazine. The mechanicals had props that represented their trades. And Hermia had a box that later revealed two halves of a heart that she and Lysander put together generating "awws" from the audience. The small gesture was not only sweet but also informed the audience of the young couple's love for each other before any words were spoken.
Though some of the actors lacked honesty and conviction in their portrayals of the timeless characters, there were several that went above and beyond.
John Edward Clark was excellently cast as the overly zealous Nick Bottom. Clark held the audience with his every word and his dramatic rendering of Pyramus the lover, in the play within the play, was exceptionally timed for comedic perfection.
Elisa Riehter was a wonderfully seditious Puck, giggling at every turn at the chaos she was creating. Riehter has amazing stage presence and captured the audience's attention, both on stage and off.
Shanti Ryle showed great emotional range as Hermia. She went from anger to love, exhaustion to rage, tears to joy in the blink of an eye. Ryle has shown great growth as a young actress in a mere year since the last SITV season.
Rebecca Reber commanded the stage as Hippolyta and the powerful fairy queen Titania. And Eric Dunn invaded his fellow actors' space as the nosy Egeus.
The cast also included Todd Meyer as Theseus/Oberon, Brittany Richardson as Helena, Joey Arriaga as Lysander, Patrick Bailey as Demetrius, Terry James Welborn as Peter Quince, and Brandon Truax as Francis Flute/Thisbe, as well as a slew of other mechanicals, fairies, henchmen and musicians.
It was also refreshing to see Ryle play with what she had. Generally in productions of "Dream" Hermia is shorter than Helena, which is brought up in their fight scene. But because the actress that played Helena (Richardson) was the shorter of the two, Ryle had the actress strap on a butt pad to give her a "round personage" rather than a "tall personage."
I have seen productions where the actresses did not fit Shakespeare's description of the characters, but the lines were left as is, making parts of the play not make sense. But Ryle smartly adapted a few words to create even more laughs.
The show portrayed characters in costumes that melded everything from the Renaissance period to modern-day wear. Costumer Mona Rose Lujano continued Ryle's vision by placing the actors in sleep-wear throughout the show. Bottom's onesie, complete with butt flap, was the cherry on the cake.
The music choices and props also played with time and place. For example, Puck ate popcorn and sipped on a Big Gulp while invisibly watching the lovers fight out their issues.
The live music was awkward at times, but it is really hard to judge considering their main musician, Kevin Montour, was ill the night that I saw the show and from what I heard he really made the musical pieces.
The set was also an interesting and inventive addition to the play. Set Designer Justin Girard created a forrest setting with a large wooden hole in the center of the stage, that was often utilized by the fairies and sprites, to disappear and reappear amidst scenes. Though focus was often on the center area of the stage, the wings and audience areas were also well utilized.
For those that have read my reviews of local Shakespeare plays you must know that I favor adaptations. This is what Shakespeare would have wanted. His plays continually commented on the politics and society of the time period in which he lived.
It was refreshing to see Shakespeare in the Vines try something different with the play. "Dream" is a favorite amongst Inland Empire theatres, but it is really when productions step outside the box that the show has the potential to truly capture the audience. Shakespeare in the Vines took a risk and it was wonderful to see.
Shakespeare in the Vines' "A Midsummer Night's Dream" continues through July 24 at Frangipani Winery in Temecula. Their next production "Macbeth" runs Aug. 20 through Sept. 4. Visit www.shakespeareinthevines.org for details.
Overall, the play was watchable.
ReplyDeleteRyle's creative directorial choices were pleasantly surprising given Midsummer is arguably the most trite, overwrought play in modern times, especially since the Bard has for the most part been banished to summertime productions. However, the play could've benefited overall if she had given the neophyte players a simple, clear motivation for each scene. Yes, the Bard's work is much more complicated than that, but perhaps one concrete directive would've helped disguise the empty recitation and blank stares that often occur during amateur Shakespeare productions.
As Puck, Elisa was the best player on the stage. Her voice and comedic awareness were worth the trip. John was good as Bottom, but by no means transcendent. Shanti's earnestness was appreciated. Her mugging and emoting were interesting to follow. Terry was annoying as Quince. Yes, his operatic tone was impressive, but his constant over enunciation - his verbal self-gratification - was distracting to the point of vexation. Everyone else ranged from tolerable to forgettable.
I liked the Alice-in-Wonderland-esque hole in the ground, though the plain boards would have been better disguised as a natural feature of the forest. The crooked flats could have been better realized in their design and painting.
Mona's costuming was superb. The music was loud (enough to temporarily drown out the generator-powered lights), and amusing in its anachronistic nature.
Some of the funniest moments were when the actors broke character to swat at the legion of bugs attracted by the outdoor lighting.
Thank you Darcie for your kind comments; I'm glad you enjoyed it. A director is only as good as the talented people they collaborate with. There are so many people that share in the credit of this wonderful show. For example, the "round" personage interpretation of Helena and her extended buttocks was all Brittany Richardson's idea. And John Edward Clark helped maintain authenticity and brought creative energy to the group as resident dramaturge. And there are so many others. I am truly blessed to have such fine, talented performers in this company.
ReplyDeleteArt should be made for the people, and with heart.
ReplyDeleteToo often, however, I am noticing that critics forget BOTH of these aspects, and gladly stomp on people for seeing what they feel was distasteful (to put things mildly), and just as well stomp on the artists who poured themselves into their craft, good bad or indifferent.
There is an art and a truth to taking up the pen. What is written has a lasting effect. It is in black and white, and can be seen as such-- but for those who are aware that someone has written between the lines, the written word has become a weapon. In the critiques I've come across, that weapon is rarely aimed in the right direction.
I would much rather talk about the message than the messenger. If the message was unclear, then the fault lies in delivery-- and from there, the critique can evolve into a discussion of observations-- rather than an outright bash at the people who directed, acted, sang the songs, built the sets, or wrote the scripts.
In the latest "hatefest", I quote: "Midsummer is arguably the most trite, overwrought play in modern times".
That's like equating the Mona Lisa to a doormat, since everyone in the world knows what it is.
Unless you're a scholar of metaphysical poetry by John Donne or Alexander Pope, I don't think anyone in the modern world should be able to take a stab at Shakespeare until they've written 40 plays and 200 sonnets that are so well known. It is a testament to the play itself that it's done as frequently as it is, and with as much imagination. To call "Midsummer" "trite" and "overwrought" is an affront to the artists who decide to make it their life for two to three months.
I have no high horse in this regard. What I create will obviously be subject to criticism, and I welcome it. But seriously-- come at me or my actors with inane things like "flooring could have been covered" or "lighting could have been better" or "The actors ranged from tolerable to forgettable", and I'd have to outright thump you a good one-- since hundreds of years ago, "flooring" was dirt, and "lighting" was daylight, and the actors are doing what they were TOLD to do.
Those "critics" should get over themselves, and spare others their wasteful prattle. Seriously.
And if you're going to critique, have the intestinal fortitude to put your name behind your words-- because this kind of crap is just cowardice, plain and simple.
That was a very poignant review Darcy.. I was right there with you(or close). Hey Theatre-Goer-If your going to have a go at it, Have the guts to come and and tell us who you are..
ReplyDeleteOtherwise it means nothing if you hide about in the shadows lurking.
Everyone is entitled to their opinion.
It was an entertaining show and that is all that it needs to be. A simple vessel to transport us all from our mundane existences for a few hours. Sheila Did her Job.. an
NO show is perfect, but how does it help to pick it apart?? if you do- have the courage to stand up for it..
Trust Me I know- I have been around that block for too long!!
Jason
For those of you who needed to know, my name is Bob. There. Does that make anything I've said more or less correct? Does that reinforce the voracity of my review?
ReplyDeleteI didn't personally attack anyone involved in the production. I simply explained how I, as a paying audience member, saw it.
If you "artists" aren't willing to accept criticism (sugar-coated or otherwise), then you'll never improve. But I guess that's how you like it out there in the I.E.
Sincerely,
Bob a.k.a. Theatre-goer
Dear Bob,
ReplyDeleteI found your thoughts to be insightful and well articulated. And I agree with you; anyone that truly takes their art seriously and strives to be a professional should not be above criticism.
I would love to receive some other reviews from you about IE theatre shows.
Sincerely,
Darcie Flansburg
Real Critics Editor/Publisher
As negative as Bob's opinion was, I believe it was completely justified. He didn't take potshots at the production, and gave his honest opinion. As far as I'm concerned, we need more people who don't sugarcoat their opinions on community productions, and someone who is willing to call bullshit. As an actor, I find myself digging to get the criticism I need to improve my performances, and it really shouldn't be that way.
ReplyDeleteI saw the same show as Bob. I though he was kind.
ReplyDelete