Fond & foolish love & sport in Shakespeare BASH’d delightful, cheeky, passionate A Midsummer Night’s Dream

Julia Nish-Lapidus. Photo by Eliza Martin.

 

Shakespeare BASH’d opens its 2019-20 season with its own take on a magical, wacky fun Shakespeare favourite with its production of William Shakespeare’s A Midsummer Night’s Dream, directed by Catherine Rainville and James Wallis, choreographed by John Wamsley, with music composition and direction by Hilary Adams—on for a short run at the Monarch Tavern. As fairies make sport of mortals, so too do royals make fun of commoners in this delightful, cheeky and passionate tale of love, transformation and jumping out of your comfort zone.

Theseus (a proud and regal Nick Nahwegahbow) and Hippolyta (Hilary Adams, in royal Amazon queen warrior form) are preparing for their wedding. A meeting with wedding planner Philostrate (a fastidious and fabulous John Wamsley) are interrupted when noble Egeus (Megan Miles, with intimidating, harsh, unforgiving my-way-or-the-highway parenting) arrives, requesting judgement on her daughter Hermia’s (a feisty and forthright Eliza Martin) disobedience regarding an arranged marriage to popular young noble Demetrius (Mussié Solomon, bringing an edge of slick arrogance to the player vibe). Hermia is in love with Lysander (a somewhat nerdy, but sweet, turn from Justin Mullen); meanwhile, Hermia’s best friend Helena (a vulnerable, yet crafty and resourceful Nyiri Karakas) is in love with Demetrius, who now scorns her. Theseus orders Hermia to obey her mother or else face death or life in a convent. Hermia and Lysander hatch a plan to flee Athens—which Helena divulges to Demetrius in hopes of winning his love—and the four young people end up lost in the woods.

Also in the woods are a group of Athenian tradespeople, gathered to rehearse a play they hope will be chosen as entertainment for the royal wedding. Amiable and organized director Peter Quince (Miles) assigns parts to Bottom (an adorably goofy, child-like turn from Julia Nish-Lapidus, bringing considerable clowning skills into play), Snug (Adams), Snout (Nahwegahbow) and Flute (Wamsley).

Unseen by the mortals in the forest, a battle of wills rages among the fairies, between its King Oberon (Kate McArthur, combining an imperious, passionate presence with a soft, romantic heart) and Queen Titania (a fierce and sensuous performance from Zara Jestadt). He wants the young Indian boy in her care as a page for himself; and she refuses, having adopted the boy when his votary mother died. Coming upon Demetrius repelling Helena’s attentions, Oberon orders Puck (a gently playful Michelle Mohammed) to fetch a magic flower, and use its juice to make Demetrius fall in love with Helena. When Puck mistakes Lysander for Demetrius, both young men now love Hermia—leading to strife and betrayal revealed for the two women, and the possibility of a mortal battle between the men. Oberon has also played with Titania, using the flower to make her fall in love with the next creature she sees—which turns out to be Bottom, who Puck has turned into a donkey! Learning of Puck’s mistake with the young lovers, Oberon orders her to make it right; and having secured the young Indian boy from Titania, releases her from his spell and Bottom from her donkey persona.

Emerging from the woods, the action shifts to the wedding and a play within the play, where the sorted out lovers are given blessings, and the tradesfolk are invited to perform their comical tragedy, to heckles from the nobles—and hilariously over-the-top performances from Bottom as the hero and Flute as the heroine; and shy, bumbling turns from the terrified Snug and slow-witted snout (outstanding comedic chops, with big LOLs from Adams, Nahwegahbow, Nish-Lapidus and Wamsley here).

Featuring minimal, but very effective costuming, props and set, the magic is highlighted by Adams’ otherworldly music composition and brisk, tight staging. It’s always a good time with Shakespeare BASH’d and its ensemble, with text and intention-focused, accessible productions that make for an enjoyable and engaging theatrical experience, as well as fresh and contemporary takes on the Shakespeare cannon. You may have seen this play before, but not like this.

Just as the fairies make sport of mortals, so too do the nobles with the commoners—all in good fun, with the magic creatures making things right, while the nobles appreciate the tradespeople’s’ passion and enthusiasm. The magic happens in the transformations—offering different perspectives that can change points of view, especially when one is thrown out of one’s comfort zone.

A Midsummer Night’s Dream continues at the Monarch Tavern until November 17; please note the 7:00 pm curtain time. Advanced tickets are sold out, but if you come early, the good folks of Shakespeare BASH’d will try to squeeze you in (doors open at 6:30 pm).

ICYMI: Check out Arpital Ghosal’s interview with actor Zara Jestadt on SesayArts.

Up next for the company: A Very Merry Karaoke BASH’d (Friday, December 13 at 8:00 pm) at The Theatre Centre

Cymbeline (February 4-9) at Junction City Music Hall 

And a great chance to support a local theatre company: check out Shakespeare BASH’d’s Indiegogo campaign for the 2019-20 season.

Mental health takes centre stage in the mercurial, heart-wrenching, provocative adaptation Hamlet(s)

Skipping Stones Theatre gives us a new, contemporary take on the Shakespeare classic brings mental health front and centre with its mercurial, heart-wrenching, provocative adaptation Hamlet(s), directed by Sean O’Brien, supplemented by additional Shakespearian text; and opening last night to a sold out house at b current Studio in Artscape Wychwood Barns. Here, we have a Hamlet who’s literally and figuratively beside himself, played by two actors; a young man struggling with emerging Bipolar I as his world crumbles around him.

I never get tired of seeing how different theatre companies interpret and adapt Hamlet. Opening with “To be or not to be…,” Hamlet’s (Tristan Claxton and Kate McArthur) emerging mental illness is established off the top of Hamlet(s). The double casting turns soliloquies into Hamlet’s conversations with himself; and the effective tag team nature of his dialogue reveals a troubled, fractured mind rolling through manic, mixed and depressive episodes—with McArthur’s side of Hamlet taking on an inner voice quality.

This adaptation also examines the responses of friends and family to a loved one’s mental health crisis. Ophelia (Breanna Maloney) is featured more prominently, taking on a more active role; mindful and concerned about Hamlet’s welfare, she enlists the assistance of Hamlet’s friend Horatio (Liz Der). Conflicted and torn about telling her father Polonius (Mike Vitorovich) about Hamlet’s increasingly erratic behaviour, and unable to find another way to help him, Ophelia chooses to place her trust in a parent; this makes her subsequent mental breakdown following Polonius’s death—at Hamlet’s hand—all the more heartbreaking. And one can see how and why Horatio would consider taking her own life after all attempts at helping her friend have failed—and those who were supposed to help and care for him have only betrayed or neglected Hamlet.

Claudius (Tim MacLean) and Gertrude (Shalyn McFaul) are also concerned—he out of fear of exposure and losing his ill-gotten throne, and she out of guilt and neglected love—but are after a quick fix for Hamlet’s problem. Enter Hamlet’s old friends Rosencrantz (Felix Beauchamp) and Guildenstern (Tamara Freeman), summoned to cheer Hamlet up; but instead of genuinely listening to Hamlet, they offer mere positive spins to counter his intimations of what ails him.

Unable to level off and organize his rapid-fire thoughts and emotions, Hamlet’s in no shape to enact revenge on Claudius for the murder of his father. Directly responsible for the death of Polonius, and perhaps also feeling responsible for Ophelia’s subsequent breakdown and death, Hamlet eventually faces off with the vengeful Laertes (Erin Eldershaw) in what’s being sold as a friendly fencing match. Surprisingly calm and ready for death—one gets the impression that he may be opting for suicide by vendetta.

Remarkable, gripping, lazer-focused performances from Claxton and McArthur as the dual Hamlets; both revealing a full range of struggling, conflicted emotional and psychological experience—from dejected despair, to playful antics, quixotic exchanges and a-ha flashes of inspiration. It’s raw, real and present—fascinating, heart-wrenching and thought-provoking to watch.

Equally fine work from the rest of the ensemble, with Maloney’s ethereal, loving Ophelia and Der’s sweet, nerdy Horatio clearly the only ones who are truly on Hamlet’s side; desperate to help their friend, they’re both frustrated and baffled as they grasp for a solution. MacLean gives a slick, corporate edge to the pompous, entitled Claudius; and there’s a tinge of melancholy to McFaul’s cool, detached Gertrude. Vitorovich gives us some great comic turns as the intelligent but verbose Polonius and the cheeky, sharp-witted Gravedigger; and Eldershaw offers up compelling performances as the irreverent, fiery Laertes and the divalike First Player. And Beauchamp and Freeman are a great pair as the affable but duplicitous Rosencrantz and Guildenstern, who are more concerned about serving at Claudius’s pleasure than they are with helping their friend.

Those who aren’t protective of Hamlet’s health and welfare aren’t necessarily bad people—some are merely self-serving, clueless, in denial or negligent. And even those who strive to truly help find themselves spinning their wheels due to lack of awareness and subsequently missing what resources may be employed to help. Just like real life. A long neglected aspect of our health care system, we’re gradually seeing mental health come to the forefront. More of us are realizing that mental health is health.

Hamlet(s) continues in the b current Studio Theatre until November 24, with performances tonight (November 17) and November 22-24; please note the 7:30pm curtain time. Advance tickets available online—a good idea given the limited seating in this intimate venue, with a short run—at the door.

Shakesbeers Showdown 2018: Meet contestant Kate McArthur

 

Spur of the Moment Shakespeare Collective is back with its 7th annual battle for First Folio supremacy with Shakesbeers Showdown 2018: Jurassic BARD on April 27 at the 918 Bathurst Centre for Culture, Arts, Media and Education. Team contestants will face off in cold reads from the notoriously hard to read First Folio—and the winner will be dubbed Shakesbeers Showdown Heavyweight Champion! Oh, and did I mention, there will be beer. Lots and lots of beer!

Competing this year are:
Spur-Of-The-Moment Shakespeare Collective
Shakey-Shake and Friends Theatre Company
Shakespeare in the Ruff
Skipping Stones Theatre
Theatre By Committee
Shakespeare BASH’d
Theatre ARTaud
Stratford Festival
The Reviewers (I’ll try to find out which ones)
The People (comprised of individual contestants competing without a company)

I’ll be posting contestants’ responses to three rapid fire questions as I receive them, up until the battle begins. Here we go with our first contestant…

Kate McArthur HeadshotContestant: Kate McArthur
Team: Shakespeare BASH’d

Favourite play from the Shakespeare canon: Twelfth Night
Favourite character from the canon that you’ve played so far: Malvolio
Dream role from the canon: I’ve got something more like a top five…or ten. I usually just say “Whichever I am playing next!” Yeah, yeah. That’s a cop out. But for now, let’s go with Hamlet, because I can’t make a decision and won’t stop talking.

Advance tickets for Shakesbeers Showdown 2018: Jurassic BARD are available online.