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Bottom's Up, part 2

signs of weakness?

With so many strengths going for it, the fate of Ott's Dream was far from assured at intermission, with so much remaining to be resolved—and a few cracks having already appeared in the foundation.

The doubling of the Theseus/Oberon and Hippolyta/Titania roles wasn't one of them—every MSND should do the same—but Oberon's costume was a little over the top: a Batman-style washboard chestplate tapering to…well, a codpiece that left something to be desired. And for some obscure reason costume designer Paul Tazewell attired Oberon's henchmen like goblins—one provoked an unplanned moment of laughter was he caught his horn in a trapdoor on the way down—and painted some fairies in makeup way too ghoulish. The point—if there was one—was entirely lost on me. The live bushes that stalked the benighted lovers with their troublesome twigs, on the other hand, were an inspired piece of stagecraft that complemented the set.

Suzanne Bouchard's double-take as Titania didn't impress much on entrance—which, admittedly, is always a hard piece of exposition to pull off with conviction. By "the nine men's morris," my ears were filled with mud.

Demetrius was translated into Niles Crane in the wood, which took all the edge off his (admittedly specious) threats to Helena's virginity when we first encounter them there. Lysander for his part seemed insensible to the implications of his "one troth" line, further shrinking the sexual potential latent in the initial wood scenes. ("And run through fire I will for thy sweet sake" wilted a little too, alas.)

But in general the young couples kept things light and edgy throughout the numerous reversals that consume the middle of the Dream, overcoming any tendency for the action to lag. Hermia was consistently spunky and cute, Helena feisty and droll, Lysander endearingly hunky and Demetrius increasingly athletic as the games continued.
 

promises kept

Any fears I entertained that the production might founder were well on the wane by intermission, and faded completely in the second half, which consistently built from strength to strength.

Titania redeemed herself after falling for Bottom with a delightfully coquettish turn in diaphanous silk, stiletto heels, and a tail-like train that had a mind of its own. Though she never actually pronounced the syllables "coo coo ca choo," you heard them all over her gait and manner—and fully envied Bottom his ascent to her bed. It almost seemed like another actress had taken over the role—hats off to Suzanne Bouchard for the versatility she displayed here.

Brent Harris likewise seemed another man playing Oberon, full of sonorous confidence and bravado while charming the lovers, plotting against Titania and jousting with Puck. With the latter in particular he enjoyed an fine, mainly friendly repartee throughout—especially when rubbing Puck's nose in his own greater powers of perception ("That very time I saw—but thou couldst not") and persistence ("I with the Morning's love have oft made sport")—though Puck gets the last laugh on him, of course.

Even the Chinese box of a set exceeded its early promise, with half-silvered passageways turning the mazes in which the young lovers are caught into, quite literally, infinite regresses. Puck's deft hands wrung the final turns from this concept, leading the lovers through revolving doors that opened and closed infinities around them until—their amazement complete—Puck could avoid pursuit like a master.

 
Copyright © 2001 Dana Spradley, Publisher, for shakespeare.com. Production photos © 2001 Chris Bennion. Used by permission.
First posted Sunday February 18, 2001.