This past Wednesday marked the beginning of the end of Cal Shakes’ historic 40th anniversary season. This summer alone, our audience has travelled back in time and around the world onstage: from segregated Southside Chicago, to the circus-inspired ancient port city of Ephesus, and now to Edwardian London. In this season alone, the Bruns has reached new heights and hosted a series of transportive and transformative theater. And we’re not quite finished yet.
Enter renowned director (and former Assistant Artistic Director) Shana Cooper, directing the final installment of our regular season, Shakespeare’s A Midsummer Night’s Dream. Cooper’s journey with Dream began when she was nine years old and living in Ashland, Oregon. As she sat in on a technical rehearsal for their production, Cooper witnessed what she describes as “a magical moment.” The nine-year-old Cooper watched in awe as a mischievous Puck gracefully climbed atop a tall Elizabethan pillar—and forgot his line. In one swift moment, Puck was transformed form a Fairy to an actor, and when the line was recalled and a colorful comment made, Puck was back again. It is this spirit of transformation, of the subtle differences between what our eyes perceive and what may be lurking just below the surface of reality, that contributed to Cooper’s desire to direct Dream.
Dream has remained one of Cooper’s favorite plays throughout the years because it serves as a gateway to an unseen world, a glimpse into the characters’–and even the audience’s–subconscious minds. According to Cooper, in Dream, the untamed landscape of the woods, where the lovers flee to and the Fairies live, “is filled with mystery and danger” due to its potential to disturb the status quo. The Athenians live on the outskirts of this liberated wood, and in Dream, we enter into a world that is wild, violent, and dangerous: the world of our subconscious desires–the world of our dreams. As Cooper so rightly states: “within fantasy lurks madness.”
During last Wednesday’s Meet & Greet with the show’s cast and creative team, we learned that Dream will take place in “a world in which the perspective shifts with the dreamer.” This lends itself naturally to the theme of transformation, hopping from one “reality” to the next, as if trapped in someone else’s fantasy. Scenic designer Nina Ball (The Comedy of Errors) joins Cal Shakes once again this season with Dream’s duel set: the oppressive, civilized Athenian landscape, slowly peeled away to reveal a “poetic representation of a forest,” complete with an exploding arch of twigs, sustained–mid-air–by a seeming lack of gravity. By the end of the play, the arch bursts to life, sprouting blossoms that carry over to, and transform, the once-stale Athenian aesthetic.
Also joining Dream for her second Cal Shakes production this season is Movement Director Erika Chong Shuch (Hippolyta, Tatiana). As Cooper reasons, “this play demands a need for movement and dance to transport us from one world to the next [in order] to tell the story.” In Dream, movement will serve as a vessel to infuse the production with magic. And it is safe to say that Cooper’s vision of Shakespeare’s A Midsummer Night’s Dream will be magical indeed.
Aliya Charney is a dramaturgy intern and Cal Shakes Patron Services Associate. You might have heard her answering Cal Shakes’ phones, giving Grove Talks before our Shakespeare shows, or in her occasional stints welcoming patrons at the new Welcome Center.