Cal Shakes at the Theatre Bay Area 2014 Awards

It was a wonderful 40th Anniversary surprise to wake up on Tuesday and find that shows from Cal Shakes’ 2014 Season had received accolades at the Theatre Bay Area Awards, held Monday night in San Francisco. While 3 of our 4 main stage shows had cast or staff nominated for awards, we emerged with five awards to five different actors and creative staff:

James Carpenter as Alfred Doolittle. Photo by Jay Yamada.

James Carpenter won “Best Featured Male Actor in a Play” for his role as Alfred Doolittle in Pygmalion. (Read an interview with James Carpenter about his role in Pygmalion, including how he rehearsed.)

Danny Scheie won “Best Principal Male Actor in a Play” for his role as the Dromios in The Comedy of Errors.

Andre Pluess won “Best Sound Design” for The Comedy of Errors.

Beaver Bauer won “Best Costume Design” for The Comedy of Errors. (Read our interview with Bauer about her inspiration for the Comedy costume design).

Danny Scheie and Adrian Danzig in The Comedy of Errors. Cal Shakes' Comedy of Errors won awards for direction (Aaron Posner), costumes (Beaver Bauer), sound design (Andre Pluess) and lead actor (Danny Scheie).

Aaron Posner, who won “Outstanding Direction of a Play” for directing The Comedy of Errors.

And as a bonus, our PR and Marketing Manager Marilyn Langbehn won an award for “Outstanding Direction of a Play” for directing August: Osage County at Contra Costa Civic Theater.

 

Congratulations to all the wonderful theater-makers in the Bay Area for coming together and making such wonderful work. (69 awards were given last night). And thanks to all our staff for such a great 40th Anniversary Season! We can’t wait to see what fun 2015 will bring.

 

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The Comedy of Errors Production Spotlight: Assistant Director Leah Gardner

Assistant Director Leah Gardner in full clown regalia.

By Aliya Charney

The Comedy of Errors Assistant Director, Leah Gardner, found herself at Cal Shakes this season through none other than our very own Danny Scheie (Dromio of Ephesus and Syracuse) and Patty Gallagher (Merchant, Officer, Courtesan, Abbess). At UC Santa Cruz, Gardner was a student of both Scheie and Gallagher. Gardner served as Assistant Director for many of Scheie’s productions as well as founded a student theater group at Santa Cruz, BarnStorm, through Scheie’s guidance. As a student in Gallagher’s clown class at UCSC, Gardner tapped into her true talent. “Patty pulled me aside one day after class and told me that I was a natural clown. That was truly one of those life-changing moments where everything makes sense.”

Since then, Gardner has been clowning her way through life. Upon moving to Seattle, Gardner joined Pi, a physical clowning troupe, which eventually relocated to San Francisco. Once in the Bay Area, Gardner joined the San Francisco Clown Conservatory to hone her craft, learning more about juggling, acrobatics and clown technique.

This is the first time that Gardner is working with The Comedy of Errors director, Aaron Posner, but she has seen some examples of his work at Shakespeare Santa Cruz, what Gardner describes as a “remarkable” production of As You Like It. “With Aaron, the story is paramount,” she says. “Each choice is made to tell the story in a clear way.” On the topic of clowning, which is prevalent throughout Posner’s version of Shakespeare’s earliest comedy, Gardner jokes that “[Posner] says he doesn’t know what clowning is,” yet he has produced “a very physical, real, simple, clear, honest rendition of the play that works perfectly with the clowning style.”

Gardner admits that “clown” is a loaded word. “Lots of people have different ideas of what it is. But [to me] it’s a very simplistic joy at the very heart of it and at its core. In terms of Aaron’s vision, he talked to us about ‘simple joy’ and I feel like we are seeing that vision.”

On the topic of “dark” comedies, such as The Comedy of Errors, Gardner insightfully reasons that, “there is, in good comedy, a darkness to it [and] looking at this play through the clown perspective is a brilliant way of working through it because all good comedy is rooted in tragedy. Laughter is a way to deal with the darker side of life in a constructive, positive way. The heart of all comedy is tragedy.”

Before beginning rehearsals for The Comedy of Errors in May, Gardner had “very high expectations for the cast…and they have exceeded that. This is…the most fun…I’ve ever had in a rehearsal hall.”

You can join the fun till July 20th! Tickets for The Comedy of Errors are on sale now. Get your tickets here!

For more information about Leah’s clown troupe, Pi, visit: www.piclowns.com.

 

 

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Ask Philippa: “Comedy of Errors” Edition

Philippa Kelly, Resident Dramaturg for Cal Shakes, invites your questions about The Comedy of Errors, which runs June 25–July 20. Tickets on sale now.

The Comedy of Errors, one of Shakespeare’s earliest plays, is a beautiful, festive comic treat about losing yourself and then finding yourself again. The play is Shakespeare’s shortest, first staged at the Inns of Court as part of an evening’s entertainment. Two sets of identical twins, both lost—one pair (twin plus master) settled prosperously in the city of Ephesus, the other pair alighting on Epheus after seven years of wandering. Add to this a wife, a suitor, and a long-lost set of parents—and here, in all its perverse comic confusions, we have a comedy: one that would set a template for Shakespeare’s future capacity to enchant, entertain, and philosophically provoke.

Are you going to see our production of The Comedy of Errors?  Do you have questions or comments about the production’s cast, themes, creative choices, or anything else? Please leave them in the comments, and I’ll be sure to respond.

Headshot of Philippa Kelly

Resident Dramaturg Philippa Kelly. Photo by Richard Friedman.

Dr Philippa Kelly, Resident Dramaturg for the California Shakespeare Theater, is also a professor and author. Her 2010 book, The King and I, a meditation on Australian culture through the lens of King Lear, garnered international praise in its very personal examination of themes of abandonment, loss, and humor).

You can email Philippa at pkelly@calshakes.org, or post below to ask her a question.

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Shakespeare’s Settings

Elizabethan Europe

By Tess Brumwell-Gaze

With only a modest Stratford upbringing, Shakespeare’s knowledge of foreign cultures is an intriguing aspect of his works. Plays ensue with backdrops of rural Italy and monarchical Denmark, but very rarely Shakespeare’s English home ground. Whether this was to spur Elizabethan imaginings of exotic landmarks, or to avoid political controversy, there is also the question of how Shakespeare managed to accurately portray his oversea settings.

Why overseas?

A first explanation for overseas settings is bound in the political climate of Shakespeare’s time. Directly portraying English politics in the Elizabethan era was a risk. Perhaps to avoid this controversy, Shakespeare could reflect his own monarchy without controversy by relocating and renaming them as foreign rulers. Macbeth exemplifies Shakespeare’s careful political balance—representing the Scottish monarch as a tyrant and the English as the righteous power.

Though a factor, this does not entirely explain why Shakespeare chose the settings that he did; stereotypes of foreign countries can to some extent explain this. For English Elizabethans, Italy was a country excelling in “the fields of art, music and literature, as well as banking, fencing and political science” explains Professoressa Laura Tosi, of Ca’Foscari University in Venice. In the same light, Italy’s culture was imagined as “the cradle of political, religious and sexual corruption.” On hearing that a play was set in Italy, audiences would expect certain characteristics. Most notable of these, Warren King discusses, are “heat, extreme emotion and violence.” What better setting for a desperate romance or bitter rivalry?

A similar account stands for Shakespeare’s Greek settings. Ancient Greece spurred associations of darkness, magic, and myth. This spiritual dimension was taken advantage of in The Comedy of Errors, as themes of witchery and immorality surface in the ancient city.

Less romantically, Shakespeare’s settings were often poached. Hamlet, for example, could hardly be taken from its original Denmark setting without being wildly reworked. This point is also especially poignant in Shakespeare’s classic plays.

A villa in Verona's countryside, close to the Capulets' imagined mansion.

 

How could Shakespeare articulate these settings?

Being from a modest background, the diverse history and language used in Shakespeare’s works suggests a much more fulfilled education. How did he educate himself on such specific times and places, especially if he would have been unable to visit?

Professoressa Tosi supposes that Shakespeare could have “read political treatises, novellas, tourist books, published traveler’s reports or unpublished ones in manuscript” as a way of informing his Italian works. Equally, oral sources could have aided the writer, with “Italian merchants living in London, scholars, musicians, and cultural mediators like John Florio.” Professore Valerio di Scarpis (Ca’Foscari University, Venice) added: “there were so many travel guides on Venice scattered around Northern Europe at that time, Shakespeare could have easily gathered all the necessary information from London.”  There is still a tiny possibility that he reached Italy—both aristocrats and companies of English players on tour moved across the continent at the time. His precise descriptions of Italian villas, locations and even plants are often cited as evidence that he must have toured the country.

Shakespeare’s grasp of language

Only fairly recently have historians supposed that Shakespeare had a fairly good grasp of Latin. This is most likely as a result of grammar school in Stratford. At this time, grammar institutions would demand pupils learn prominent texts by heart. Most prominently, Ovid’s Metamorphoses would have been mandatory, which Shakespeare references in his poem “Venus and Adonis.”

It is largely assumed that Shakespeare did not have an equivalent knowledge of Greek. Instead, works such as Plutarch’s Lives, translated by Sir Thomas North in 1579, would have informed Shakespeare’s own work. An exception may be The Comedy of Errors, which it is thought Shakespeare would have directly based on the original Menaechmi by Plautus.

The Comedy of Errors also notably opens with Virgil’s words;

“A heavier task could not have been imposed
Than I to speak my griefs unspeakable” (1,1.32-33)

Translations were a key source for a number of plays. Julius CaesarAnthony and Cleopatra, and Coriolanus were written with the aid of Sir Thomas North’s translations, though there are a number of further sources expanded his classical knowledge and use of language, as Professor Panos Karagiorgos discusses.

Shakespeare’s settings can be explained by a mix of political controversy, Elizabethan romanticism and education. The Bard’s reading shaped both his choices in setting and linguistic experimentation, formed by revised translations and a disciplined schooling.

Tess Brumwell-Gaze is based in the UK and writes for Italian Villa company, Tuscany Now. She is interested in all areas of Italian culture, though is especially fond of arts and literature.

Interested in seeing how director Aaron Posner depicts Ephesus, Greece? Buy your ticket for Cal Shakes’ The Comedy of Errors, opening June 25.

 

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Inside the Rehearsal Hall for “The Comedy of Errors”

“The play’s the thing.”

—Hamlet, Act II, Scene II

Hello!

This is dramaturgy intern Aliya Charney blogging from inside the rehearsal room for Cal Shakes’ upcoming production of Shakespeare’s The Comedy of Errors, directed by Aaron Posner. We started off running (and tumbling!) this past Wednesday at the Meet and Greet, where cast members, artistic staff, production crew, the entire Cal Shakes team, and donors had the opportunity to listen to Posner discuss his vision for the play, which centers around the idea of “play.”

The cast of The Comedy of Errors in rehearsal.

The various puns on the word “play” (a stage performance, an exercise of amusement, fun and jest, a game, to act the part of a character, and even another word for “pun” itself ) perfectly complement Shakespeare’s earliest comedy. The Comedy of Errors, which is filled with wordplay and jest, is a play about mistaken identity, mystery, doubling, farce, magic, confusion, and love.

The notion of play, which Posner will use to drive The Comedy of Errors forward, will manifest on stage not just through juggling, clowning, and acrobatic tricks performed by the actors, but through the sense of what Posner himself calls “invented Shakespeare”—a term he uses to describe the contemporizing of Shakespeare’s texts through the fluidity of the Bard’s own language. Meaning, Posner, the cast, and artistic staff will create a world that profits from Shakespeare’s enduring language, rather than interpreting the play through a specific historical lens.

Costume Designer Beaver Bauer draws inspiration for her looks from Buster Keaton, 1920s fashion, eastern European clowns, Steampunk, and much more. Her looks coincide with Posner’s vision of play and “invented Shakespeare” because they do not come from one specific place or time period, but rather, are drawn from themes and images that the text itself evokes. Nina Ball, scenic designer for the production, has created a multi-level, colorful, trapdoor-filled, “shutter-cluttered” open stage that provides a canvas for abundant physical humor, allowing the actors to fully embody the sense of play, while simultaneously harmonizing with the beautiful, natural backdrop of the Bruns.

Posner adds to the play’s themes of doubling and confusion with a cast of seven. Both sets of twins (four characters total): Antipholus of Ephesus/Antipholus of Syracuse and Dromio of Ephesus/Dromio of Syracuse (played by Adrian Danzig and Danny Scheie, respectively) are performed by two actors, while other cast members play multiple personalities on stage as well. The actors, therefore, rely on quick changes (some of which take place on stage before the audience), accent shifts, and physical humor to tell the story of mistaken identity between two sets of brothers.

Less than one week into rehearsal, The Comedy of Errors is already promising to be a a fun-filled, hilarious, and loving production. Posner began the first rehearsal by requesting the cast to “find the love” in this dark comedy. Indeed, love of all forms flourishes on stage: from romantic love to love between brothers, sisters, and friends, and even unapologetic self-love, The Comedy of Errors balances Shakespeare’s oft-dark text with fruitful moments of tenderness guaranteed to make the audience fall in love with the production, and actors.

The Comedy of Errors begins previews on June 25th and opens on June 28th. With rehearsals now fully underway, I will be updating this blog periodically with production developments and insight into the rehearsal process.

Join in the madness! Buy your tickets for The Comedy of Errors here.

Aliya Charney is a dramaturgy intern for Cal Shakes. A recent graduate of UC Berkeley, Aliya is a Shakespeare and cat enthusiast from Chicago. Her favorite line in The Comedy of Errors is: “I to the world am like a drop of water / That in the ocean seeks another drop.”

 

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Who’s Your Twin?

When Shakespeare penned The Comedy of Errors—one of his shortest, most slapstick plays—the idea of twins (a central theme of the play) fascinated the Elizabethans. Though they didn’t understand the genetics of multiple births—the difference between fraternal and identical twins, for instance—they had many beliefs about twins: that they signified an especially fertile mother, and that the comradely twins would hold hands in the womb, for instance. (Interestingly, Shakespeare’s wife birthed twins—Hamnet and Judith—in 1585, seven years before the publication of The Comedy of Errors.)

Twins fascinate us today just as much as they did in Shakespeare’s time.  When we read stories about long-lost twins finding each other again at age 78, it makes front-page news for the BBC. Twins tell us about ourselves, our genetics and culture and how each makes us similar and/or different.

Even if you don’t have a biological twin, we all joke about having “twins” in a metaphorical sense. Sometimes we spot a celebrity, friend, or a random person on the street who reminds us of someone; my elementary school even had “twin day”—where (non-twin) students would coordinate outfits and mannerisms.

For our Comedy of Errors program, we’re asking our patrons and fans to send in pictures of themselves and their twin–whether real, celebrity, or stranger. Who do you look or act like? Who look or acts like you? Further your fame by sending in a picture of you and your twin (real or imagined)—the best ones will appear in our program.

Email your twin pictures to our publications manager and get a chance to be in the Comedy of Errors program!

Learn more about The Comedy of Errors or buy your tickets by clicking here.

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Ask Philippa: 2014 Pre-season Edition

Philippa Kelly, resident dramaturg for Cal Shakes, invites your questions about our 2014 season, which begins May 21. Subscriptions on sale now.

Headshot of Philippa Kelly

Resident Dramaturg Philippa Kelly. Photo by Richard Friedman.

2014 brings a very exciting season for many reasons—not the least of which is that it’s Cal Shakes’ 40th anniversary.

First up is Lorraine Hansberry’s iconic A Raisin in the Sun, directed by Patricia McGregor, who first joined us at the Bruns last in 2012 with her magnificent Spunk. A Raisin in the Sun offers a stunning portrait of a black family’s experience in racially divided Chicago, injecting domestic and racial tension into 1950s self-portraits of the post-war American Dream. Raisin made Hansberry the youngest playwright, the fifth woman, and the only black writer ever to win the New York Critics’ Circle award. (The play also inspired the Pulitzer Prize-winning Clybourne Park, written 60 years later and directed by our own Jonathan Moscone in an award-winning production at A.C.T. in 2011). Next is Shakespeare’s early play The Comedy of Errors, directed by Aaron Posner, a comic take on mistaken identity that offers a brilliant look at the dark side of Shakespeare as well as the light—loss, isolation, family reunion, and redemption. Third in our season director Moscone brings us Pygmalion, often seen as George Bernard Shaw’s most enduringly important play, a savagely ironic critique of the British class system. (This play, too, made such a social impact that it gave birth, 44 years later, to another masterpiece, the musical My Fair Lady.) Lastly is A Midsummer Night’s Dream, the Shakespeare play most often described as “perfect” in its exploration of love that opens out, concertina-like, from an early threat of punishment and even death. Buoyed by perhaps the most beautifully poetic language of Shakespeare’s entire career, director Shana Cooper will take us into the “green world” of the forest—will the lovers emerge from the forest different, or more truly themselves?

Look out, too, for my free, off-season session, Reprises and Rehearsals, a look at how the plays of the 2013 and 2014 seasons connect to different works and themes in their authors’ lives. Date TBD. In the meantime, post any question or observation you like right now (and into the early spring) and I will post an answer as quickly as possible—often within 24 hours.

Dr Philippa Kelly, Resident Dramaturg for the California Shakespeare Theater, is also a professor and author. Her 2010 book, The King and I, a meditation on Australian culture through the lens of King Lear, garnered international praise in its very personal examination of themes of abandonment, loss, and humor).

You can email Philippa at pkelly@calshakes.org, or post below to ask her a question.

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Ask Philippa… and Aaron!

Philippa Kelly, Cal Shakes Resident Dramaturg and production dramaturg for A Midsummer Night’s Dream, invites your questions about the show, with the assistance of director Aaron Posner.

Picture by Jay Yamada.

“I am amazed and know not what to do…” So speaks Hermia in A Midsummer Night’s Dream. Wonder, amazement, the perplexities of love…. Cal Shakes Artistic Director Jon Moscone says that “magic” in the forest is like a sped-up version of human destiny: that the magical events in the forest of Athens are a fast-forward version of what ACTUALLY happens when people fall in and out of love. We humans pride ourselves on being the most rational of all earth’s creatures, and yet the strongest compulsion we havethat of loveisn’t about reason at all. Love sends us in directions that may make no sense to anyone else (even our beloved) but we go there anyway.Enter your thoughts and questions in the “comments” section below, and Aaron and I will take turns answering.

How did it feel to experience love’s mystery in the forest with Aaron Posner and his cast?

Midsummer runs through Oct 11, 2009.

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2009 Season Artist Profile: A Midsummer Night’s Dream’s Aaron Posner

In the months leading up to our 2009 Main Stage season, we’ve been profiling the creative minds behind the season’s productions—Romeo and Juliet, Private Lives, Happy Days, and A Midsummer Night’s Dream—in our e-newsletters. For the March installment, we profiled director Aaron Posner, director of A Midsummer Night’s Dream, who you may remember from this blog entry a few months back. Posner is the Artistic Director at Two River Theatre Company in New Jersey, coproducer of Midsummer. What follows is the complete Q&A for that article. To sign up for our email newsletter, click here.

You’re currently in tech for Melissa Arctic at Two River; what are a few of your most recent projects before that, and one or two coming up?
My adaptation of My Name Is Asher Lev from the novel by Chaim Potok just closed at the Arden Theatre Company in Philadelphia (of which Posner was a cofounder -ed.). I am very proud of it and am pleased it is going on to other productions around the country, including one in this area in the fall at the Marin Theatre Company. Actually, folks in this area will be able to see both my adaptations of Chaim Potok novels, because Theatreworks in Palo Alto is doing The Chosen next year as well. I have never worked in the Bay Area before, but next year I will be represented three times, which is great. I am looking forward to seeing all of them, and spending some time out here…

In the meantime, I am starting rehearsals in a few weeks for Arcadia by Tom Stopppard at the Folger Shakespeare Theatre in DC, and next season I will also be working on a fabulous new adaptation of Euripides’ Orestes by Anne Washburn at the Folger and Two River, and also a new Cole Porter musical revue I am putting together. And more things on other burners as well. So lots of exciting stuff…

What has changed in your thinking and planning for the Cal Shakes’ production of Midsummer since you spoke to the staff here in January?
The core ideas are the same, though they continue to evolve and percolate. The show is very much with me now, in my consciousness all the time, so I see somebody wearing something in a coffee shop and I think “Oh, that could be very Puck” or I see a piece of art in a gallery and it gives me idea for the set. Both of those things have happened recently, by the way. I am just beginning the design process, so that work is really still to come. We shall see where it leads. The other major thing that is happening is that we are getting the show cast, as with each new cast member, I have new ideas. My whole idea of the mechanicals has totally evolved based on the folks I met here at Cal Shakes for the auditions. I was excited and inspired by some of your long time Associate Artists, and I think I am finding fun and playful ways to use them.

What are you looking forward to regarding working in the Bay Area in general, or with Cal Shakes or at the Bruns in particular? This will be the third time I have worked outside, so I am looking forward to that. Though I hear there are foxes and wolves and wild beasts in the area, so I am not so sure about that. I am from the west coast originally, from Eugene, Oregon, so it is always great to be back on the west coast. A lot of folks I grew up with and went to school with and did plays with in school and at the Oregon Repertory Theatre when I was in high school actually live in the area I am finding out (mostly via Facebook and from folks who have seen your season advertised) so that will be fun, too, to re-connect with some folks. And as I said above, I am very excited by the actors I have been meeting from the area, so I am looking forward to that, too. This cast will be a great combination of long-time collaborators that I am bringing with me and a lot of folks that are new to me, so that is usually a good and dynamic combination.

And finally, if you could have directed any play in history, what (and/or where, and/or with who) would it be?
Wow. This is absolutely a question I have never been asked and never really thought about. There are great actors now I would love to work with, and a million stories to tell. I am not sure I can think back that way. I can tell you I would give anything to have been in the audience of one of Shakespeare’s plays back in the day, when they were being advertised as World Premieres. It would just be so fascinating to know what they were really like and how they were viewed. I would love to really be able to see that.

The great thing is, of course, that if there are plays from the past that I love so deeply I would have wanted to do them back then, I can still do them now. That is one of the great gifts of this profession. The plays don’t get used up. Particularly the really great ones. There is always more to explore, more to delve into, and new things keep happening to you and to the world, so there are always new things to inform any production. So, that pretty much entirely dodges the question, but I think it is the best that I have.

Oh, and I would like to have directed the first production of Man and Superman. And Uncle Vanya. And Arcadia. And Orestes. And The Misanthrope. And…

Don’t miss a minute of our 2009 Main Stage season; click here to subscribe. Single tickets go on sale May 1!

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A Midsummer Night’s Dream and the capacity for wonder and amazement.

Last Friday, the Cal Shakes staff got to attend a brown-bag lunch with Aaron Posner, who was in town for, among other things, some Midsummer Night’s Dream auditions. Though Posner cut his teeth in the Northeast—cofounding Philadelphia’s Arden Theatre Company and serving, currently, as Artistic Director of New Jersey’s Two River Theater Company—he grew up in Eugene, OR, which helped him fit in rather quickly with the casual-yet-enthusiastic admin staff here at Cal Shakes. And despite the fact that Midsummer doesn’t open till September, he gave us some valuable insight into where his creative process currently stands.

The first thing Posner told us was that he played Oberon in a fourth-grade production of Midsummer, wearing green tights and the torn-up lining of his mother’s coat. Years later, he was inspired to mount the play at the Arden by a friend who told him she would soon be too old to portray Helena; that production was the inaugural show at the Arden’s larger theater and Posner says that he had “the best time of my life” directing that production.

He’s thinking that the Cal Shakes/Two River coproduction will be fairly simple, scenically speaking, with a set by Erik Flatmo (Uncle Vanya, Richard III, TheatreWorks’ Radio Golf), lighting by Russell H. Champa (Pericles, Man and Superman, Berkeley Rep’s The Pillowman), and—new to Cal Shakes—Serbian costume designer Olivera Gajic, who recently did Midsummer at the Prague Quadrennial.

Posner is adamant that, “more so than any other writer, Shakespeare got that every day and every scene needs to have the capacity for wonder and amazement.” He says that the line “Lord what fools these mortals be” is central to his thinking about the play. “Shakespeare must have been in a pretty good mood when he wrote Midsummer, as he’s looking at all of these very broken people, and just lovin’ them.”

“My intuition is to go straight at it; full of love, amazement, hope, and magic. Not to get too Obama about it, but there’s a sense of optimism around.”

There is darkness in Midsummer, of course, and Posner doesn’t want to shy away from that. He cites a production of the play he saw in 1970s Eugene wherein Puck was played as a devilish satyr: “Cute pucks have since driven me a little crazy”; Loki in Norse mythology and the coyote in Native American lore are more his kinds of Pucks. “Because the world gets screwed up, you have to have someone who’s responsible for that.”

As Posner likes the idea of mythology lurking around the corners of everyday life, he says that the fairies in our Midsummer might only be implied—tiny, invisible sprites interacting with the actors. He also likes the idea of Titania and Oberon’s relationship straddling the line between royalty and “regular” marriage. “When the leadership is at odds, everyone beneath it suffers.”

Since the fairies may only be implied, the music and sound are the biggest question, still. Since Posner is firm that (referring to the fairies’ song) “no one should really be allowed to speak the word ‘philomel,’” he is playing with the idea of a mystical version of Sirius satellite radio. If Titania and/or Oberon could call up whatever music they wanted, whenever, they could just as easily conjure “Dvorak, Aimee Mann, Sinatra, or ‘The Ride of the Valkyries’” from the air as they could a bunch of trilling sprites; they could also turn it down or off, or change it as they desire, just as a human couple might do in the heat of argument.

 

Posner is currently working on an adaptation of Cyrado de Bergerac, a work that he says, like Midsummer, “leaves you wanting to live your life more fully.” Ultimately, the director says, he’d like the audience to walk out of the Bruns suffused with “optimistic delight.”

Click here to read more about our 2009 season, and to subscribe.

 

 

 

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