Displaying items by tag: Midsommer Flight

CYMBELINE? CYMBELINE?? I’d not even heard of Shakespeare’s CYMBELINE. Wikipedia admits it’s “one of Shakespeare’s lesser-know plays”. There’s a great deal of speculation on the whys and wherefores of its obscurity but now I know the answer: CYMBELINE has remained largely unknown because it hadn’t yet been played by Midsommer Flight.

There’s debate over CYMBELINE’s genre – tragedy? comedy? romance? – but Midsommer Flight’s Director (and founder) Beth Wolf is absolutely certain: CYMBELINE is a comedy, and a hilarious one! While staying true to the original script, she has directed the (superb) actors to make it incredibly funny by via expressions, postures, and gestures.

The storyline is as simple and convoluted as all The Bard’s plays. King Cymbeline (Barry Irving) lost his sons Arvirargus (Juliet Kang Huneke) and Guiderius (Logan UhiwaiO’Alohamailani Rasmussen), kidnapped in infancy and raised by Belarius (Jessica Goforth). Cymbeline is therefore determined to get a true-born prince by marrying his daughter Imogen (Ashley Graham) to dreadful prince Cloten (John Drea), royal son of his Queen (Talia Langman). Imogen, however, has fallen in love with and secretly married a commoner who was orphaned at birth and therefore named Posthumous (Keenan Odenkirk) [and they wonder if this is a comedy??]. King Cymbeline learns of the nuptials and banishes Posthumous to Italy, leaving Imogen to fend off the loathsome advances of nasty little Prince Cloten.

Meanwhile, the evil Queen plots to murder both Imogen and Cymbeline using a deadly poison concocted by Doctor Cornelius (Jillian Leff), But Cornelius, no stoopnagel, suspects funny business (the wrong kind) and hands over a harmless sleeping draft. The Queen passes the potion to Imogen & Posthumus’ loving servant Pisanio (Bradley Halverson), telling her it’s a medicine.

In Italy Posthumous meets Iachimo (Shane Novoa Rhoades), a dodgy sort of bloke with whom the gullible (not to say rather thick) Posthumous makes a most imprudent wager: Iachimo bets that he can seduce Posthumous’ wife Imogen snicker-snatch (erm … sorry, snicker-snack). Imogen retains her virtue, but Macho Man Iachimo can’t accept being trounced (Italian, remember?), and presents false evidence of her capitulation to Posthumous.

When Pisiano (the faithful servant who everyone confides in} tells Imogen of Iachimo’s treachery the irate young princess determines to find Posthumous and set the record straight. Imogen shows herself smarter than her boo by dressing as a boy for safer travel. She christens her trans self Fidele, for faithful.

Etcetera, etcetera, and so forth. I don’t think it’s much of a spoiler to disclose that, after various sophistry, skullduggery, knavery and chicanery, everyone is reunited, reinstated, and restored. All the bad guys are foiled, and a happy ending is had by all – all the good guys, any road.

Typical Shakespeare, yeah?

Jillian Leff as Doctor Cornelius in Midsommer Flight's 'Cymbeline'.

What’s not so typical is Midsommer Flight’s management of this gallimaufry.

This is the third year I’ve reviewed a Midsommer Flight production and I’ve been consistently impressed, but CYMBELINE was more than impressive – it was truly awesome.

Founded in 2012, it is Midsommer Flight’s mission to bring quality, accessible performances of Shakespeare to Chicago communities. Accessible is key here: too many people don’t bother to even try understanding Shakespeare’s vexatious language and convoluted plots. Midsummer Flight makes this intimidating material accessible at several levels: financially by offering all performances for free, culturally by casting diverse artists, textually by working with actors to bring iambic pentameter into comprehensible language, geographically by touring to different areas of the city, and physically by performing in public spaces – specifically, Chicago Parks. I saw CYMBELINE last weekend, July 14, in Gross Park. Each weekend they’ll perform Friday and Saturday night in a different park: Kelvyn Park at Logan Square, Nichols in Hyde Park, Lincoln Park, and Touhy in Rogers Park. Check Midsommer Flight’s website for details.

The performance is prefaced by the actors briefly outlining the plot to orient the audience to the play’s action; this Cliff’s Notes intro was really helpful. Midsummer Flight also offers musical diversion from a troupe of five minstrels (Jessica Goforth, Bradley Halverson, Juliet Kang Hunecke, Jillian Leff, Andi Muriel, and Aloha Rasmussen); there are also a few a capella songs, all composed and directed by Jack Morsovillo.

Scenic and Props Designer Jeremiah Barr manages the problems of an outdoor setting by wisely choosing Less is More. The sets, after all, will travel to several different open-air stages, so he keeps them starkly uncluttered. Likewise, Costume Designer Rachel M Sypniewski makes simple cloaks and mantles that can be donned in a tent, yet vividly distinguish the characters.

CYMBELINE, like all Shakespeare’s plays, includes quite a bit of intimacy and fighting (though the beheading occurs offstage), deftly directed by Maureen Yasko, Jillian Leff, and Chris Smith. Stage Manager Hazel Marie Flowers-McCabe, with assistant Ayla Sweet, keep the proceedings vigorous and vivacious without degenerating into pandemonium.

Special kudos to Text Coach Meredith Ernst! As I said earlier, making iambic pentameter comprehensible is a major problem with Shakespeare, but in CYMBELINE I heard and understood virtually every word. And congratulations, of course, to Director Beth Wolf and Assistant Christina Casano, who transformed an undistinguished and ambiguous play into a thoroughly successful comedy.

The actors, of course. They made innuendos and improper phrases irresistibly funny, using facial expressions, posture, gesture, and all the other tricks in an actor’s toolbox. A special shout-out is due to Jillian Leff, who made the stodgy Doctor thoroughly waggish. It takes a gifted actor to have the audience howling through her report from of the Queen’s deathbed.

Bradley Halverson’s Pisanio was also prime. Shakespeare doesn’t usually give much stage time to menial characters, but Pisiano was a key role, juggling allegiances from all-powerful King and Queen to beloved Imogen and Posthumous. 

My absolute favorite was John Drea as the ghastly prince Cloten. His comedic gestures hovered perilously close to slapstick – jumping up and down and shaking his fists like a tantruming toddler – but he remained safely high camp without descending into pratfall – hysterically funny but never Three Stooges.

Comedy was amplified by the actors often playing directly to the audience, winking to bring us in on a joke or making us complicit with an aside. This can be difficult to manage without breaking character or disrupting flow, but this cast pulled it off without a bobble – good work, Casting Director Karissa Murrell Myers!

Well, that’s about it for my review. In short: CYMBELINE by Midsommer Flight is absolutely marvelous – see it!! It’s playing through August at various Chicago Parks – find the one you want to visit and bring lawn chairs and a picnic, like at Ravinia.

But wait just a tic: in these perilous times I needs must append some commentary.

As MAGA condemns drag shows and bans books, they would do well to wipe the shelves of Shakespeare, for his plays are rife with gender fluidity. At the Globe all female parts were, of course, played by cross-dressing males, who enacted romance and desire with the other male actors – men kissing men right there on the stage OMG! Gender-swapping characters, like Imogen/Fidele in Cymbeline, are key in As You Like It, Merry Wives of Windsor, The Merchant of Venice, and of course Twelfth Night. Gender is also critically explored in tragedies like Hamlet and Othello, and Lady Macbeth’s dominance over her husband is totally discordant with societal expectation. Her cry, “Unsex me!” hints that Shakespeare found much amiss in Elizabethan society's dictum of “the natural order”.

Same-sex romance is acceptable in Shakespeare as well. In Twelfth Night, Duke Orsini falls in love with the young man Cesario, but is undismayed when ‘he’ is revealed as Viola (though he continues to refer to her as ‘boy’ during his proposal). Boy, girl … whatever, he wants it. His wife Olivia also falls for Cesario, largely because she admires ‘his’ feminine ways, and when she marries Viola’s twin Sebastian (believing him to be Cesario/Viola), he assures her that, like ’Cesario’, he is ‘both maid and man’.

The Buggery Act of 1530 made sodomy a capital offense and punishable by death, defining the rigid expectations of heterosexuality. Still, 17^th century England saw many examples of same-sex relationships: King James I and King William III, for example, each had several male lovers. We can assume that what went on in the King’s chambers was also happening in less august beds. After all, gender fluidity was a cornerstone of the Elizabethan rule. In her oration to the troops gathered to fight the Spanish Armada Elizabeth says, “I know I have the body but of a weak and feeble woman; but I have the heart and stomach of a king, and of a king of England ....” Good ol’ Liz. I’ve always liked her.

In high school I was fascinated with Henry VIII and his desperate attempts to wring a healthy boy from his pox-ridden testicles. Then his daughter, the child he disowned and condemned (not to mention orphaned) goes on to become one of England’s most revered sovereigns. Take that Henry, you misogynistic, mistaken, misanthropic, myopic, misguided monomaniacal monarch! I’ve always loved that by the time he got to his sixth wife Henry was actually henpecked – though his brain was tapioca by then; he may not even have noticed.

But I digress.

SEE CYMBELINE!! Even if … especially if you don’t like Shakespeare.

Midsommer Flight is a not-for-profit company that believes ‘Shared Joy and Flights of Fancy’ are for everyone, and that ‘BIPOC, LGBTQ, disabled, gender-diverse and body-diverse people are integral to our community.’ They are therefore the perfect troupe for A MIDSUMMER NIGHT’S DREAM, and last night was a midsummer night to dream about.

Midsummer Flight does an amazing job with a challenging project: they must make iambic pentameter comprehensible, not to mention audible in an outdoor environment. It’s hard work to perform outdoors with no backstage and with a picnicking audience spread Ravinia-style across the wings, and filling the extensive cast of A MIDSOMMER NIGHT’S DREAM is no picnic. Amazingly, Midsummer Flight not only pulls this off, but they offers it for free, in keeping with their commitment to inclusion.  Last night’s performance was in Lincoln Park, but the troupe rotates across the city, performing all summer in Lincoln Park, Gross Park, Lake Meadows Park, Chicago Women’s Park & Gardens, and Touhy Park.

A MIDSUMMER NIGHT’S DREAM is one of Shakespeare’s most beloved comedies. The play intermingles several subplots, centering on the wedding of Duke Theseus of Athens to the Amazon queen Hippolyta. Three other couples are involved: Hermia, whose uncle Theseus opposes her match with Lysander; and her best friend Helena, who loves Demetrius – who fancies Hermia!  Then there’s the third pair of lovers:  Oberon, King of the Faeries and his majestic Queen, Titania.  And ass if this isn’t enough mayhem, we also have a troupe of actors: Snug, Snout, Quince, Francis Flute and Bottom, who refers to the troupe as a band of ‘rude mechanicals’.

The real trouble starts when King Oberon orders his playful minion Puck, a "shrewd and knavish sprite" to create a potion which, when applied to the eyelids of a sleeping person, will make them fall in love with the first living thing they see.  Oberon wants to make Demetrius return Helena’s love, but Puck mistakenly gives the elixir to Lysander, who obligingly falls in love with Helena, much to Hermia’s dismay. Puck then comes upon the actors rehearsing their play and assumes Bottom’s name to be synonymous with Ass, so he transforms Bottom’s head into that of a jackass. 

Meantime, Oberon is angry with his wife Titania, who won’t give him her lovely Indian changeling. Convinced by these experiments with mortals, he uses the magic potion on her.  Sure enough, Titania awakens to the countenance of Bottom. While she lavishes devotion on the donkey-headed actor, Oberon gleefully absconds with the lovely changeling boy. 

Okay, have you got all that? The play continues to embellish, elaborate, and obfuscate this tangle of subplots into a hilarious rumpus.

I can’t tell you how many times I’ve seen A MIDSUMMER NIGHT’S DREAM. It’s always delightful:  a forest full of faeries and infatuated folks; what’s not to love? But Midsommer Flight’s production of this old favorite was particularly enchanting. Their mission is evident in its delightfully diverse cast and their success eminently warranted by their talent and craft. Joshua Pennington is a regal (and gorgeous!) Oberon, a terrific foil for Meredith Ernst’s Titania. Manny Sevilla as Demetrius is a terrific comedic partner to Richard Eisloeffel’s Lysander, and Hermia (Alice Wu) and Helena (Koshie Mills) shine as alternating bosom buddies and fierce rivals.  Jack Morsovillo is engaging as Bottom, and his crew Hannah Mary Simpson (Snug), Elizabeth McAnulty Quilter (Snout), Travis Shanahan (Francis Flute), Kat Zheng (Starveling) and Barry Irving (Quince) are marvelous. In the fictional troupe’s performance of Pyramus and Thisbe, I’m not sure which of them played the part of Wall, but it was brilliant. These actors also play Titania’s faerie retinue Cobweb, Mustardseed, Moth and Peasebottom, respectively.

[BTW, it’s an extensive cast and most of the actors play multiple roles, so if I’ve gotten any names awry I deeply apologize!  You can refer to the program here.]

No, I haven’t forgotten Puck, I’m simply saving the best for last. Puck is usually a favorite character, but Ebby Offord is an exceptionally enchanting Puck and brings special charm to the character of that naughty little pixie. Her frolicsome performance is a lagniappe for a character that’s already prized.

OK, I’m wearing out the thesaurus here, and I need to save a few superlatives for production staff.  Director/Founder Beth Wolf has brought Midsommer Flight triumphantly through a decade of productions. Assistant Director Devin Christor prefers to focus on “plays that explore tests of morality in the human experience.” Stage Manager Hazel Marie Flowers-McCabe and her assistant Anna Zaczek , with Scenic/Props Designer Nina Castillo-D’Angier have their work cut out for them, working without a stage! but they pull it off brilliantly, wisely keeping sets and props to an absolute minimum. The same spare approach works perfectly for Costumer Lily Grace Walls – particularly as the actors covering multiple roles must change in the open. Production Manager Giselle Durand ‘relishes diversity and strives to be a theatrical Swiss-army knife’, which is precisely what is needed for this sort of production. Lane Anthony Flores and Amy Malcom as Text and Vocal Coaches do a great job helping the actors make sixteenth-century English accessible.  The cast shows terrific physical comedy, thanks to Fight Director Chris Smith, who has been with Midsommer Flight from its inception, and Assistant Fight & Intimacy Director Maureen Yasko, a member of Babes with Blades.

The Bottom [sic] line here:  Recommended! Bring chairs/blankets and a picnic, and don’t bother with a babysitter – the show moves fast enough that the kids won’t need to understand this play to love it.

This year’s incarnation of Shakespeare’s gender-switch comedy Twelfth Night, Midsommer Flight’s holiday tradition returns to the Lincoln Park Conservatory as “an immersive journey.” Under director Kristina McCloskey (with associate director Stephanie Mattos), “Audience members will follow performers promenade-style from scene to scene, often having to choose which characters or plot points they’d like to follow.” Unfortunately, once you have chosen, you must commit to your choice—and I regretted a few of mine. And sometimes, you are forbidden from choosing which scene to follow when too many others have made a choice. As a result, I caught much of the interplay between Cesario, Orsino and Olivia (except for the part about how Viola became Cesario). I missed almost the entire subplot involving the maltreatment of Malvolio by Sir Toby, Maria, Aguecheek and Feste. I did see the moment when Antonio revealed to Sebastian that he could not show his face in Illyria, but others did not, which would make Antonio’s intervention on behalf of Cesario seem baffling to an audience unfamiliar with the play. There is still a lot to like in this Twelfth Night, likely more than I can report on. The amazing setting—which one can see even more of this year—is a bonus, especially if one likes a walk. The original music and songs by Elizabeth Rentfro and Alex Mauney (with additional music by Grant Brown, Caroline Kidwell and Lexy Hope Weixel, returning from previous productions) underscore the emotions and action of play. There are some strong performances. However, the “choose your own adventure” mode would make this a very confusing evening for anyone unfamiliar with the play. For anyone who wants to see how all the characters develop, it can be frustrating. Allowing the audience to promenade a little more freely might help, but ultimately, no matter which direction one goes, one will miss a lot.

Though I saw too little of some characters to form an opinion on the performances, I was able to see some almost fully. As Viola/Cesario, John Payne brings a little too much gravitas to the role, belying the character’s youth. Their voice can also be drowned out by the surroundings, though they create beautiful, intimate moments with Orsino, Olivia and Feste alike (the relationship with Feste, which can get lost sometimes, is amplified in this production to great effect as the intermediaries between the two courts find communion in their alienation from both worlds). Amy Malcom’s Olivia lacks the mournful hauteur normally found in Olivia, her grief for her brother seeming more like a figurative “headache” presented as a reason for rejecting Orsino’s advances, but she brings warmth and humor to her interactions with her court, and a palpable desire to her interactions with Cesario. As Orsino, Polley Cooney captures the nobleman’s imperious egocentrism at the outset, while slowly growing into the recognition that love cannot be demanded. Izis Mollinedo’s wise Feste becomes the glue of the production, providing much of the musical accompaniment as well as the clever wordplay that shows the foolishness of the many unrequited crushes. With a powerful singing voice and wry wit, Mollinedo is a worthy foil to the passions. Kathleen Mitchell is a powerful and passionate Antonio, who mysteriously risks all for Sebastian; in this production, Antonio’s attraction to Sebastian is obvious, though Audrey Napoli’s Sebastian seems much more ambivalent. I wish I had seen more of Tatiana Pavela and Grant Brown as Maria and Sir Toby Belch, respectively, as well as Lexy Hope Weixel’s Sir Andrew Aguecheek (though I appreciated Weixel’s hangdog, sniveling Aguecheek in the moments I did see—particularly in the ill-fated duel). Sonia Goldberg as Malvolio brought a heartrending sense of betrayal to the character’s imprisonment (though they were unnecessarily hidden behind a screen from my vantage point), followed by a seismic rage in the final scene, though I missed the machinations that brought Malvolio to this point. Special mention should go to ensemble members Kristen Alesia and Jillian Leff, who take on multiple other roles (Leff is very entertaining as Valentine), help manage audience movement, and provide musical accompaniment and vocals.

Directors Kristina McCloskey and Stephanie Mattos have done their best to bring the parts together in key moments, but much of the action still takes place in the next room, no matter which room one is in. This is not helped by the ending, which involves some nice reconciliations, but ultimately feels abrupt—while the typical resolution is too tidy and forced, in this production, the ending feels irresolute. As to the design, the backdrop to the action could not be more beautiful. Placing the Olivia’s first scene in the Orchid House is inspired, and the action allows for a good viewing of much of the Lincoln Park Conservatory. Unfortunately, the foliage can also make sightlines tricky, and some lines get lost in the ambient sound. The costumes by Cindy Moon range across time but convey the stations of the characters; the Hawaiian cruise-themed stage management is a nice tongue-in-cheek touch and Antonio’s, Viola’s and Sebastian’s costumes all have a vaguely nautical feel that works well. Props and scenery by Nina D’Angier are minimal, as they must be, but create effective spaces for Olivia and Orsino, and lend some specificity to the various scenes. The team of stage managers also deserves praise for keeping the audience moving, helping people who need assistance and guiding audience members to spaces for viewing—though they will probably hone their parts in this performance as they encounter all the many pitfalls this format potentially contains.

Though Midsommer Flight’s Twelfth Night is still a beautiful and joyful version of Shakespeare’s comedy, the “choose your own adventure” format, while an interesting concept, contains more problems than payoffs. For anyone unfamiliar with the play, the already confusing plot would be nearly impossible to follow. Those who are familiar may still miss favorite scenes. The performances are entertaining, and the music brings the love story to life. However, with each audience member following a different path, no one gets the whole story, and there is a lot of story to miss in Twelfth Night.

Midsommer Flight’s Twelfth Night runs through December 19, Thursday – Sunday at 7:30pm at the Lincoln Park Conservatory, 2391 N. Stockton Drive, Chicago, IL 60614. Tickets are pay-what-you-can with a suggested donation of $30, and are available at Twelfth Night (Winter 2021) | Midsommer Flight. Audience members must wear masks and stand during the performance (accommodations for mobility can be made with advance notice), which runs 100 minutes, and must show proof of COVID-19 vaccination.

For the fifth year in the row, the beautiful Lincoln Park Conservatory has become temporary home to Midsommer Flight’s annual production of Shakespeare comedy ‘Twelfth Night’. Admittedly, this was the main draw for me, as I love visiting the tantalizingly lush greenhouse space during Chicago’s colder months/ most of the year.  To accommodate the show, one of the Conservatory room has been turned into an intimate theatre with a catwalk-like narrow stage and two rows of chairs on either side.  Directed by Dylan S. Roberts, original music by Elizabeth Rentfro, Alex Mauney and Jordan Golding, this highly spirited and energetic play turned out to be a pure delight, amid green plants and ferns, notwithstanding Shakespeare’s witty dialogue.

Love is in the air, and mischief closely follows. A young woman, Viola (wonderfully played by Jackie Seijo), after being shipwrecked and stranded in a foreign land, poses as a man, becomes a servant to a nobleman, but then promptly falls in love with her master, Duke.  Duke’s heart, however, belongs to another – a wealthy woman Olivia, whose servant Malvolio (sassy Erika B. Caldwell, she’s so fun to watch!) gets pranked by his mistress’ household into believing that he, too, can merry into wealth and become a nobleman. Historically, there’s an old Christmas English tradition of role reversal, and it is believed that Shakespeare has written Twelfth Night as an entertainment for this tradition.

All of this role and gender reversal is a source of much confusion, and the actors masterfully act out every nuance and emotion, so, even with Shakespeare’s famously challenging dialogue, the show is highly entertaining and easy to follow. And speaking of dialogue, the actors have no trouble at all with that olden English (partial credit undoubtedly goes to text coach Amy Malcom). There’s a live band that’s part of the play, as musicians are also active participants. With all of that music, knife fighting, and dancing and prancing, it’s an occasional madhouse, but a really-really fun one.  

Highly recommended!