Despite one major problem, MidTangent's gay version of Shakespeare's romantic fantasy is an eye-opening, entertaining evening. It seems natural for the Bard's plays to be translated into LGBT theatrical events, given the amount of cross-dressing lovers found in so many of his works. And since it was unlawful in Elizabethan times for women to work as actors, Shakespeare's heroines were always performed by young men. So given all this, what's the problem?
Primarily, the issue lies in interpretation. In order to do a crack-up job with Shakespeare, it's paramount that major attention be devoted to the language. When produced back in the 16th century, Shakespeare's plays were simply exciting stories told to an audience with very little technical support. The Bard's beautiful words supplied all the spectacle that was needed.
One problem with this production is that in artistic director Tony Lewis' modern adaptation, set in Chicago's Boystown area, much of the text has either been cut or updated to include local LGBT references. Of course, if you come to this production already familiar with the original story and characters, you're fine. Shakespearean purists, however, will probably frown at such text tampering, and newcomers to this play won't know what they're missing. But that's not really the interpretation issue here.
More problematic is that many of Lewis' actors lack the ability to wrap their lips around the extraordinary Shakespearean verse. The playwright's use of iambic pentameter and his inventive way with the English language provide so much more than just plot. However, the fact that only a handful of Lewis' actors can be understood or even heard prevents newcomers to this play from truly understanding and appreciating the story.
Ben Muller, cast as both Duke Theseus and Oberon, is one exception to this complaint. He's masterful in both roles, looks great in the Fairy King's abbreviated leather costume and certainly knows how to deliver a line. He understands, unlike several of the other actors, that shouting the text doesn't make it more intelligible. Megahnn Tabor's lovely Hermia, Max Bever as Flute/Thisby and Emily Rogers as Hippolyta are further examples of cast members who seem skilled in their craft. Other actors have their moments in this production, but unfortunately they too often suffer either from a case of mush mouth or from over-amplified background music and sound effects.
Many positive elements abound in this production, though. Tony Lewis' overall concept for the play is both clever and exciting; he's really responsible for everything seen and heard in this production, being listed as director, producer, adapter, choreographer and costume designer.
Lewis smartly chooses to highlight the gay marriage issue by changing the genders of the four lovers. Casting a captivating Kit Kat Lounge drag performer (known only as "Madame X") as the identity-changing, lip-syncing Titania is brilliant. Employing an ensemble of terrific dancers who fiercely execute everything from jazz and modern to krump and hip-hop elevates the tone of this production. Several gifted designers are credited for creating the provocative costumes and wigs so appropriate to each character, and some tense fight choreography and brilliant sound and lighting effects all add up to a dazzling evening of rainbow razzle-dazzle and flamboyant fun for adult audiences, especially if they've dreamed the dream before.
Reviewed by Centerstage!
