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Look past the city walls of Athens and journey into the magical forest.
What you might find beyond the outskirts of the city is only to be filled by that of your imagination. Join us for one night only where we will meet the king and queen of the fairies and all of their servants. Shenanigans will ensue as the forest is created by the imagination, and exists where time does not matter.
The forest, acts more as a state of mind rather than just a location.
Scenic Design
Did that bush just move? I thought we were just in the palace, how did we get in the middle of the forest?!
Scenic designer Kristin Campbell, designed a set that utilizes mobility to the advantage of the story. Having palace columns that fly out above the stage and tree-like structures filling the void, the transition from space to space is seamless and easy on the eyes.
Movable shrubs operated by the fairies of the forest create a magical yet natural, as the forest is a living breathing entity as no area is the same. It creates variability as they journey farther into the forest, to get a sense of both travel and enchantment. These were constructed with lightweight materials that allow actors to actively move with these in hand.
Another tool that the director uses to promote levels in the scenery are hula hoop-like objects called Lyra rings. These rings are suspended in the air by cable and roughly sit four feet above the stage. The rings are commonly used in circus acts by performers to showcase aerial acrobatics. In Midsummer, the Lyra rings are being used by fairies to suggest flying. These actors who are performing in the rings went through rigorous training twice a week to learn tips, tricks, and technique on how to safely perform. Also, the use of the circle motif throughout the show is recognized with the Lyra as they are cohesive with the rest of the design.
Character
He's a fairy now? I thought he was the king! How do I know the difference?
When the Athenian characters enter the magical forest, they each undergo changes, physical and emotional. The Lovers (Hermia and Lysander, and Helena and Demetrius) enter the forest, but are enchanted by the fairy king’s servant, and leave the forest changed. Theseus, the conquering Athenian king trying to earn his new wife’s love, transforms into Oberon, the strong fairy king plotting to steal from the fairy queen. Hippolyta, Theseus’ conquered Amazonian wife, transforms into Titania, the powerful fairy queen.
In the world of the forest, the Lovers meet various mischievous fairies and Oberon’s spritely jester, Puck. There, Lysander is mistakenly given a love potion and immediately falls in love with Helena, pushing Hermia to the side. Then, Demetrius is given that same love potion and also falls in love with Helena. Once Oberon and Puck realize their mistake, Puck reverses the spell, uniting Helena and Demetrius and reuniting Hermia and Lysander.
According to Director Bradac’s vision, Oberon is the “true form” of Theseus, as Titania is also the alter ego of Hippolyta. Through their antics in the forest, such as Puck finding an enchanted flower to put a spell on Titania to get Oberon what he wants, or using that same flower to enchant the Athenian lovers Oberon observed in the wood, the couple was able to reignite their love. This renewed love also flowed into Theseus and Hippolyta’s new-formed love.
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