American Shakespeare Center presents Will’s popular romantic mixup comedy in “Renaissance Style:” a limited rehearsal period, a charismatic repertory cast of only ten, no traditional director, and (per the program note) “a unique mashup of tradition and ‘DIY’ aesthetic.” The reduced size cast means that the lovers double as mechanicals and fairies, to very good effect. There are (the now de rigueur) acknowledgements that some of the rhymes no longer work, and some other modern schtick. More fun are the ad libs with the onstage audience, as well as a very funny bit in which an imaginary bolt kills a train whistle hoot owl that would otherwise disturb Titania’s nap.
Joe Mucciolo’s Puck is quite corporeal, receiving pantomime kicks and blows from Ronan Melomo’s Oberon every time he messes up. The three-way fight among Puck, Demetrius, and Lysander makes good use of the Blackfriars’ upstage doors. Annabelle Rollison’s “Bottom’s dream” monologue is a marvel.
The test of a good Dream is a rollicking Pyramus and Thisby (Shakespeare’s 11:00 number), and the team delivers with fresh bits, from an enormous pair of falsies for Sarah Fallon’s Flute’s would-be ethereal Thisby, to a live dog for Moonshine, to Natasia Lucia Reinhardt’s approach to Wall. Rather than the conventional peace sign chink, she leaves another opening for P and T to converse—let’s just say that Wall enjoys the kiss more than either Pyramus or Thisby.
- A Midsummer Night’s Dream, by William Shakespeare, American Shakespeare Center, Blackfriars Playhouse, Staunton, Va.
Blackfriars has made some accommodations to audience comfort since my last visit, with permanent seat backs and cushions.