ARTS
Saturday, May 18, 1985

Page 5

The Michigan Daily

Shakespeare's 'Dream' reawakened

By Noelle Brower
W ILLIAM SHAKESPEARE has engendered more
controversy, experimentation, and excitement than
any other playwright, past or present. New productions of
his work should be anticipated with interest for the
multiplicity of his texts offers much to inspire the creative
mind. The present collaboration of Eclectic Theatre Com-
pany, Kreative Improvisational Drama Studio (K.I.D.S.)
and Young People's Theater has produced a new, updated
production of Shakespeare's A Midsummer Night's
Dream aimed at a younger audience. Though the produc-
tion is flawed, the placement of the scenes in a modern
setting and the obviously thorough attention given to the
subtle nuances of the text bring out the humor of the play,
and this makes for a light, enjoyable evening.
Rick Sperling, an 18 year-old graduate of Community
High School, is the director, handyman et. al. of the
production; having had classical training at The Royal
Academy of Dramatic Arts in England. He intends to en-
ter Oberlin College in the fall as a freshman. Why
Shakespeare? And why a modern setting for the play?
Sperling says, "It's important that young people not see
Shakespeare's works as ancient plays written in a foreign
language ... I think it is our job to breathe new life into
his work; to help a new generation discover
Shakespeare."
To bring a contemporary flavor to the play, the skyline
of Athens as seen from the woods is not ancient temples or
rocky cliffs, but modern skyscrapers resembling one of
the larger cities of today. And the "Athenian garments"
worn by the actors are straight out of The Preppy Han-
dbook (could this be re-titled A Midsummer Night's
Dream, or Yuppie Love?). Shakespeare is often taken too
seriously, and the deified approach used by many
producers tends to mar the productions, leaving the

audience in quiet observance as though at a mass.
Though marred at times by bad acting and misspoken
lines, the projection of the play into modern times allows
the actors to overcome the usual stiff delivery of the lines,
giving them the freedom to have fun on stage and giving
the audience an opportunity to laugh, chortle, and even
answer back at times during the production.
The play's usage of background music is at once an ad-
vantage and a drawback. The accompaniment on guitar
by Ross Thayer, who also plays one of the rude
mechanicals, to the action of the play, and his melodic ad-
aptations to the various fairy songs, lend themselves very
well to the play's dreamlike atmosphere; but the added
use of contemporary songs such as "Why Do Fools Fall in
Love?" and Aretha Franklin's "Natural Woman" are too
obviously placed and predictable. They lower the artistic
reach of the play. Though all of this is done in the attempt
to make the younger generation appreciate Shakespeare,
I think that the show's producers underestimate the in-
telligence of this age group and its ability to grasp and en-
joy Shakespeare.
With the exception of the last act, the movement and
rhythm of the characters on stage is well choregraphed,
especially the acrobatics and clever background noises of
the fairies, and the interchange between Oberon (Charles
Cares) and Puck (Brian Abbrecht). However, this rhythm
falls apart in Act V during the play within a play sequence
of the rude mechanicals. Though it is humorous, this
scene becomes too funny when the actors resort to using
all-too-familiar campy devices for laughs; it is overdone.
Whether one is familiar with Shakespeare or not,
Dream is good entertainment by an ambitious theater
collaboration. There are, as well, some outstanding per-
fornaces, most notably those of Will Cares as Bottom, An-
ne Morton as Titania and Mark Willet as Lysander. Per-
formances are at 8 p.m., May 16-19 and 23-26 at The Per-
formance Network.

May Fest: Two perspectives
VERY YEAR for the past 92, cert Grand, and principal cellist in the Friday night with The
the University Musical Society Pittsburgh, Anne Martindale Festival Chorus was rather dismal;
presents a series of four concerts per- Williams, made her Ann Arbor solo however, Saturday evening with
formed by a guest orchestra with a debut. Dame Kiri Te Kanawa was a
variety of conductors and soloists, all A sprightly performance of the smashing success, for she gave a
in honor of the lovely month of May. Rimsky-Korsakov Russian Easter stunning performance.
This spring marked a new begin- Overture began things. Brilliant work Sir Alexander Gibson conducted for
ning for the annual Ann Arbor May from all sections of the orchestra Friday and Saturday performances
Festival. Despite the fact that the provided for rousing music, and pret- and handled himself brilliantly; at
Philadelphia Orchestra for several ty much the same vibrant feeling least under the circumstances: The
years had assumed the distinction of developed from the closing number of orchestra was restrained at best but
guest orchestra, this time the Pit- the evening: a fiery performance of still elegant. The sound quality
tsburgh Symphony took the stage Ravel's Rapsodie Espagnole. seemed plush and smooth-ap-
behind the baton of three different -Neil Galanter propriate for Berlioz and Mozart.
conductors-none of whom were from However, when they accompanied
Pittsburgh. Tfwsteval HE BIGGEST change in The May soprano Kiri Te Kanawa on Strauss's
Conductor Sixten Ehrling started Festival from last year is that Four Last Songs, with three of the
the first night of the Festival joined by The Pittsburgh Symphony Orchestra poetic texts from poems by Hermann
premier violinist Itzhak Perlman. An was featured with Sir Alexander Gib- Hesse, they best displayed their
energetic and acrobatic performance son as conductor. This was not a hap- abilities. They were quiet and soft in
of Nielsen's Maskarade Overture py change, as it represented the the background while Kenawa sang of
demonstrated the quality of the Pit- passing away of Eugene Ormandy, heartfelt woes. -Mike Gallatin
tsburgh Symphony.
The big attraction of the evening
was Perlman. The virtuoso's vehicle
was the Tchaikovsky Violin Concerto ,
and Perlman as usual reaffirmed
himself as the solid soloist that he is.
His playing was always well con- $4 with this entire ad t st os a $400
trolled, with a sober and full-sounding ? "M" amrss r 5/23 *
tone quality. Penlman seemed,
however t lack a real sense of verve .||....:...|||..|.|..|
and mobile excitement, performing Michael Darlin * Maggie Smith Academy Award Winner
the piece in a --could-play-it-in-my- "A PRIVATE SAT. & SUN. "A PASSAGE
*sleep fashion. t IS
The evening fare on May 2 was a FUNCTION" ( SHOW 'c TO INDIA"
major pianist/conductor and a solo sFIMt oto sas009 :00 2I . MtN 430.8:00
SAT. SUst it00 305:00 7:0t 9:tt 2tt SA. SUN. 1:tt 430, itt ?
cellist. French pianist and conductor -.
Phillipp Entremont was on stage ":: " "' "R I- W
with his Bosendorfer Imperial Con- '.

Titania (Anne Morton) is enamored of Bottom ( WillCares) in A Mid-
summer Night's Dream' at The Performance Network.
Dance Theatre Studio

Classes in ballet,
modern, jazz, tap,
and ballroom.
For current class
schedule and
more information
call 995-4242.

Aj


711 N. University (near State Street) " Ann Arbor