Review: A MIDSUMMER NIGHT'S DREAM at Robert G. Reim Auditorium

St. Louis Shakespeare closed out their run of the often produced A MIDSUMMER NIGHT’S DREAM on Saturday evening at the Robert G. Reim Auditorium in Kirkwood, Missouri. This production, a modern re-telling of the Shakespeare classic, was directed by Christina Rios. Her vision included modern wardrobe, actors breaking character to illicit laughs beyond the script, and high-energy, frenetic blocking. Some of Rios’ vision worked, and some of her choices were less successful.

The best of the production stemmed from the performances that Rios’ helped her actors create. Tiélere Cheatem’s turn as Puck was as magical as the tricks Puck plays on the characters in the play. Cheatem luminous stage presence made it impossible to take your eyes off of them. Every choice in script delivery, facial expression, and physical acting they made was spectacular. They created a playful and mischievous Puck. Fox Smith (Nic Bottom) and Mark Kelley (Peter Quince) were the best of The Mechanicals. They inhabited their roles with confident ease. Both made brave, bold and memorable acting choices. Lexy Witcher (Hippolyta) always leaves an indelible statement on the stage. Again, in this performance she showed that she adroitly handles any role she is given. Her ability to assuredly recite the Shakespearean dialogue was impressive. It was never overdone. She was charming, emotive, articulate and understandable.

Rios’ and costume designer Olivia Radle enhanced their updated vision with modern dress for the costuming. That choice enhanced the direction Rios’ took the production and helped by adding authenticity to the production’s modern flair. Morgan Brennan’s simple multi-leveled set design was appropriately whimsical, decorated with dripping greenery and florals enhancing the play’s setting. Mark Kelley’s fight choreography between Lysander and Demetrius was amusing and comical. Both actors, Jordan Ray Duncan (Demetrius) and Noah Laster (Lysander), stepped up to the challenge and created the most humorous moments of the production. Choreographer Mary Mather’s collaboration with Tiélere Cheatem (Puck) was the most effective part of the choreographed movement. Her wedding dance with the six actors between Act IV and Act V was at times both charming and awkward.

Rios’ frenetic blocking, especially for Rhiannon Creighton (Helena) and Molly Stout (Hermia) didn’t allow these skilled actors to deliver fully realized performances. Both Creighton and Stout showed strong stage presence with confident acting choices. However, their frenzied movement resulted in their dialogue being lost even for audience members seated near the front of the theater. While they were well rehearsed, had complete command of the script, and articulated the scripted prose well, their words were lost among their swift movement.

The decision to double cast the roles of Oberon and Titania was simply confusing. A MIDSUMMER NIGHT’S DREAM already has complexities built in with The Mechanicals and their play-within-a-play. Double casting these roles added an unnecessary bewildering layer.

The biggest audience laughs of the evening resulted from the actor’s breaking character and reacting to action on the stage or prodding the audience for a laugh. It did create laughter and if that were the intent then it could be called successful. It was a directorial risk that was unnecessary as well. In this reviewer’s opinion, when you are performing Shakespeare allow the material to stand on its own merit.

Christina Rios should be commended for taking bold risks with one of Shakespeare’s most often performed and well-known comedies. She created a unique and different take on a play that people have seen many times. Her collaboration with her team, especially her cast, resulted in some incredible performances. St. Louis Shakespeare’s production of A MIDSUMMER NIGHT’S DREAM closed on Saturday, October 7th.

PHOTO CREDIT: Marissa Meadows