By Catherine Siggins, Brits in LA Theatre Reviewer
In the absorbing new production of A Midsummer Night’s Dream at the Broad Stage in Santa Monica, we meet two young lovers, Hermia and Lysander, who flee Athens to escape the wrath of Hermia’s father and the dire judgment of Theseus, Duke of Athens. They are followed by Demetrius, Lysander’s rival with fighting on his mind, who wants Hermia as his bride, and Helena, Hermia’s childhood friend and the woman cruelly jilted by Demetrius, who aims to win her love back at any cost.
Meanwhile a troupe of amateur actors rehearses a play for the King’s wedding feast. They all find themselves in the woods outside the city, and fair sport for the fairyland on their feasting night of Midsummer. When Lysander utters “The course of true love never did run smooth” he really has no idea what is in store for him and his companions in the Athenean woods, or just how fantastical it is to become.
For the audience the same is true, as this comedic production beautifully flows from one rich visual image to the next, powered by the skill of a talented ensemble cast under the direction of Tom Morris and the Handspring Puppet Company, the creative team behind War Horse. This time the puppets are on a smaller scale for the most part, which fly and swim across the stage like chaotic atoms. Just as the lovers leave their reality to step into a primal world of magic, so do the audience thanks to the imaginings of the production team, who succeed in transforming a puppet makers workshop, stylishly designed by Vicki Mortimer and atmospherically illuminated by Philip Gladwell, into a world that shifts and changes as quickly as the whims of its fairy master. The cast, dressed as Fair Isle-and-check-shirt-sporting hipster crafts folk, carry lengths of wood, which are employed to become the confounding forest, fairy queen Titania’s wings, and barriers to the lovers, under the evocative movement direction of Andrew Dawson. Bric-a-brac from the workshop animates to become an ever-mutating Puck with the deft collaboration of cast members Lucy Tuck, Saikat Ahamed and Fionn Gill. Dave Price’s ethnically inspired music is understated yet mesmerizing, added to by the cast, who provide sound effects, and vocal, rhythmic and musical accompaniment, using lengths of pipe and wood, and an oil can drum.
The cast does a great job working together to create a seamless and exciting journey. Cast members shift effortlessly between their roles and tasks as fairy folk, and with the text they show craft in their singular roles. Alex Felton stands out as Lysander. His passion, delivery, and physical expressiveness were winning. For me, the Mechanicals troupe excels with their stand out work, such delicious playfulness. Vaudeville at its best, pratfalls and all. Miltos Yerolemou as Bottom, face down, literally, steals the show, owning every comic pause and heartfelt moment to moving effect. If you want to escape the craziness of Hollywood and find yourself in an enchanted land full of magical creatures, star-confused lovers, mayhem, and the finest and funniest ass in Los Angeles (watch out Kardashians, you have competition), then hie thee hence to The Broad Stage. On further reflection, perhaps the fairies do have a hand in what happens in our glittering city.
For tickets, visit: tickets.thebroadstage.com
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