THE BASICS: Shakespeare’s play directed by Kelli Bocock-Natale at the New Phoenix Theatre on the Park, 95 N Johnson Park, Buffalo 14201, Thursdays (Pay What You Can), Fridays, and Saturdays. All shows at 8pm through May 23.
THUMBNAIL SKETCH: With intriguing music and a magical set, we bounce between three situations – the “real life” problems of young lovers (Hermia and Lysander want to get married, but her father wants her to marry Demetrius, whom Helena loves), the same problematic lovers in the woodland realm of the fairies, and the “rude mechanicals” (working folk) rehearsing a presentation of “Pyramus and Thisbe” to present to the Duke on his wedding day. Twenty separate roles are ably handled by only ten physically fit actors in the intimate space of the New Phoenix Theatre.
THE PLAYERS, THE PLAY, AND THE PRODUCTION: First off, I was predisposed to like this show because of director Kelli Bocock-Natale’s last Shakespeare play, “Macbeth,” at this venue, where, because of the small size, you are right in the thick of the action. Kelli is 2 for 2. This production had me right away with the soundscape prepared by Tom Makar which greets you in the lobby. It’s magical, mysterious, with a sensual beat… perfect for the play which is soon to start. If the music weren’t enough, sitting waiting for 8pm gave us a chance to enjoy the set by Paul Bostaph which gets the prize for most creative use of chicken wire and tin foil which, I know, might sound cheesy, but once lit from above, the set takes on a life of its own. The main stage is connected to the floor stage (around which the audience sits) by a roller-coasty ramp, adding to the off-balance spirit of the play.
I was surprised by the small audience given that it was “Pay What You Want” Thursday, that the play had been well reviewed, and that Buffalo is something of a Shakespeare town, with our two productions in Delaware Park every summer.
Even though Shakespeare is responsible for giving our modern English many phrases still in use (what the dickens, dead as a doornail, in a pickle) there are many more expressions that have not time-travelled the 400 + years. Everyone who has ever taken a Shakespeare course in college knows that. Personally, I always liked the texts with the notes on the facing page to avoid constant flipping back and forth because, as much as the Shakespeare looked like English on the page, so often “it was Greek to me” (Julius Caesar). You can’t just say the lines in any script, but especially so in Shakespeare. You have to understand them, internalize them, and believe them and that’s exactly where a good director comes in. As mentioned, Kelli Bocock-Natale knows how to bring the 16th century into the 21st. Well done.
I’m as shallow as the next guy, so forgive me when I tell you that this is one really, really good looking cast. They’re young (ish), fit, and they move with ease in a play where everything is in flux so the “plant and rant” style of acting just won’t cut it. As mentioned, only 10 actors inhabit 20 roles, as either Athenians, fairies, or mechanicals, but you don’t have to keep track. This I can tell you. Megan Callahan is beautifully regal as both Hippolyta, Queen of the Amazons, and Titania, Queen of the Fairies. Jamie Nablo Lama is cute as a button as the feisty Hermia and the equally attractive Eliza Vann plays the lovesick Helena. Robert (Bobby) Cooke is okay as the rather stiff Theseus, Duke of Athens, but, when he’s Oberon, King of the Fairies, he morphs into one hunky, manly guy. On a bigger stage, he really should have ridden in on a Harley. The other male actors are all good in somewhat thankless roles, moving the action along, including Nick Lama and Billy Horn. Kurt Erb does well as the clueless Demetrius, but the standout actor in this production is Eric Rawski as Bottom, one of the “mechanicals” who not only wants to direct the production of the play within the play, but star in all of the roles (Pyramus, Thisbe, Lion, and Wall). Caitlin Coleman has her hands full reigning this group in. And, Puck is played by the nimble Maria Droz, who takes this iconic role and enjoys every minute of it.
You don’t have to “brush up your Shakespeare” (Kiss Me Kate) before you go, but since the printed program has no notes, and since there are so many characters and plot twists, it might be worth a quick trip to Wikipedia prior to your visit.
*HERD OF BUFFALO (Notes on the Rating System)
ONE BUFFALO: This means trouble. A dreadful play, a highly flawed production, or both. Unless there is some really compelling reason for you to attend (i.e. you are the parent of someone who is in it), give this show a wide berth.
TWO BUFFALOS: Passable, but no great shakes. Either the production is pretty far off base, or the play itself is problematic. Unless you are the sort of person who’s happy just going to the theater, you might look around for something else.
THREE BUFFALOS: I still have my issues, but this is a pretty darn good night at the theater. If you don’t go in with huge expectations, you will probably be pleased.
FOUR BUFFALOS: Both the production and the play are of high caliber. If the genre/content are up your alley, I would make a real effort to attend.
FIVE BUFFALOS: Truly superb–a rare rating. Comedies that leave you weak with laughter, dramas that really touch the heart. Provided that this is the kind of show you like, you’d be a fool to miss it!