 | November 8-18, 2001, Thurs.-Sats. at 8 p.m., Sundays
at 2 p.m.
408 W. Washington
Directed by Glenn Bugala
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| SYNOPSIS:
Theseus, who is about to marry, informs the lovestruck Hermia that she must marry
Demetrius and not Lysander or she will be killed, according to her father's will.
Hermia and her love Lysander escape into the woods, with Demetrius and Helena secretly
following behind. The lovers come in contact with spirits of the woods, and after a
great deal of confusion find true love. In the meantime, some tradesmen have been
rehearsing a pitifully bad play to perform at Theseus wedding reception, and do so to
hoots and howls. This production, set in New York City, features Theseus as a Mafia
don, the lovers as swingkids, the tradesmen as Depression-era Full Monties and
Native American spirits.
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| Send PARTICIPATION FORM (for crews) directly to
director, Glenn Bugala
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 | CAST LIST:
Theseus, a New York Mafia Don BRIAN HARCOURT
Hippolyta, member of Mafia family MARIHELEN HEMINGWAY
Philostrate, Theseus’ Bodyguard TOM REISCHL
Egeus, loyal member of Theseus mob SUSIE BERNEIS
Hermia, spoiled Swing kid EMILY PERRYMAN
Lysander, rich Swing kid AARON RABB
Demetrius, nerdy Swing kid MATHIAS MALOFF
Helena, Swing kid ANNA KLADZYK
Oberon, Sun Spirit RYAN SHRIVER
Titania, Earth Spirit JENNIFER WHITE
Puck, Eagle Spirit EUN JOO SHUH
Peaseblossom, Squash Spirit ADRIANNE CLARK
Cobweb, Grandmother Spider Spirit EMILYE BANGHAM
Mote, Linu Spirit JENNIFER KITCHEN
Mustardseed, Goosefoot Spirit LAUREN HARRISON
Deer, Owayoo Spirit LUKE LUSSENDER
Turtle, Animal Spirit IAN STINES
Tree, Acornhead Spirit KENT KLAUSNER
Peter Quince, A Builder JIMMY DEE ARNOLD
Nick Bottom, A Textile Worker JON ELLIOTT
Francis Flute, Newspaper Boy MICHAEL MAHONEY
Tom Snout, a Plumber KEVIN PIERSON
Snug, A Furnituremaker ANDREW JENTZEN
Robin Starveling, A Tailor MARK BERNSTEIN
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| PRODUCTION STAFF:
Director - Glenn Bugala
Producer - Curt Waugh
Assistant Director - Michele Leshan
Set Design - Glenn Bugala
Set Builders - Mike Sielaff and David Rowe
Lighting Design - Jen Jakary
Light Board Operator - Jen Jakary
Sound Design - Glenn Bugala
Sound Operators - Bob Skon
Costume Design - Joan Korastinsky
Make-up and Hair - Amy Palicia
Swing Dance Choreographer - Ian Stines
Assistant Swing Dance Choreographer - Melanie Ehler
Native American Choreography - Jennifer White
Props - Linda Wark
House Manager - Catharine Zudak
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| DIRECTOR COMMENTS:
I believe that Americans should bring their own viewpoint to Shakespeare. As George
Bernard Shaw said, "We are two countries separated by a common language."
Although the language is common, everything else, including the collective experience of
each society, is different. With that in mind, and with the fact that Shakespeare
himself didn't set the play in the 1500's, I feel strongly that we should take a new look
at Shakespeare whenever we direct it. But, unlike director Peter Sellars, I believe
that the choices we make for a setting should inform on the entire play and resonate on a
lot of levels. I have set A Midsummer Night's Dream in New York in the
1930's Swing Era. By setting the play in New York in the 1930's, I have tried to
directly focus on the important theme of society vs. nature. The lovers in the play
must go into nature to discover the true nature of their love. I placed the play in
and around Central Park, where nature and refinement are literally across the street from
each other. By setting the time period in the 1930's, I utilize the Great Depression
as an era marked by great discrepancies between the classes. Also, Central Park
loses some of our nighttime fears associated with it. Also, the time period was
marked by the "screwball comedy" films--where women pursued men, where the rich
hobnobbed with the poor, and rich kids would often step out from the constraints of their
parents. In a sense, Midsummer is a Shakespearean screwball comedy.
Theseus, a man with the power to kill Hermia if she disobeys, is a Mafia don who just
killed off some of Hippolyta's relatives before marrying her to bring the clans together.
When out-of-work tradesmen become desperate for work (it is the Great Depression,
after all), they resort to putting on a play for Theseus. In looking for ways to
make the spirits become part of nature (Shakespeare names Titania's train after elements
of nature), I asked myself what kind of magic would be in the earth of Central Park.
I decided the best way to express it was through the magic and nature spirits of
Native Americans from that area. See below for some pictures.
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| THE PREVIEW: Printed in the Ann Arbor News on Sunday,
November 4, 2001
THE REVIEW: Printed in the Ann Arbor News on Saturday,
November 10, 2001
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