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.

Toronto Fringe: Art, longing & acceptance in the poetic, heart-wrenching, gender-bending The Bird Killer

Clockwise, from bottom left: Emerjade Simms, Tymika Tafari, Subhash Santosh, Mo Zeighami, Evan Mackenzie & Mike Ricci. Photo by Patrick J. Horan.

 

LET ME IN presents Justine Christensen’s poetic, heart-wrenching modern-day, gender-bending adaptation of Anton Chekhov’s The Seagull with its Toronto Fringe production of The Bird Killer, directed by Patrick J. Horan and running in the Tarragon Theatre Mainspace.

A group of artist friends grapple with the day-to-day challenges of artistic expression, and personal and professional fulfillment—all while maintaining their relationships and support network. Masha (Emerjade Simms) is a keen observer of her friends’ goings-on, and acts as a host/narrator when she’s not directly involved in a moment. Wearing black to mourn the state of her life, her sardonic sense of humour masks a broken heart: her unrequited love of the driven, tormented playwright Kostya (Mo Zeighami). Kostya is with the nervous emerging actor Nina (Even Mackenzie), who stars in her new contemporary theatre piece. Singer/songwriter Medvedenko (Mike Ricci, who also supplies original music for the production) is Kostya’s loyal, hard-working stage manager; and taken with Masha.

Kostya’s wise-cracking stand-up comic brother Arkadina (Subhash Santosh) brings his girlfriend, renowned playwright Trigorin (Tymika Tafari), to an invitation-only presentation of Kostya’s new work; setting off debates of artistry vs. celebrity, and changing the group dynamic. He’s unwittingly set in motion a significant ripple within the group—and things will never be the same.

Beautiful, moving work from the ensemble with a piece that cuts close to home for all artists. Each character longs for love and professional artistic fulfillment, but finds it difficult to achieve satisfaction. Does acknowledgement and accolades make one artist’s work more important than another’s? How does an artist navigate authenticity vs. marketability? And, most importantly, how does an artist accept him/herself?

The Bird Killer continues in the Tarragon Mainspace, with two more performances: tonight (July 13) at 9:15 pm and July 15 at 3:30 pm.

Want to check if the show you want to see is sold out? The Toronto Fringe folks have set up a page for sold-out shows, updated daily.