Review: A MIDSUMMER NIGHT'S DREAM at Susquehanna Stage

Directed by Jeremy Patterson, this creative, energetic, laugh-out-loud reinvention of Shakespeare’s beloved comedy is another home run for Patterson, who has now directed two of my favorite productions at Susquehanna Stage. With a clever flip of the script that transports the action to New Orleans, complete with jazz music and a healthy dose of Southern charm, Patterson gives this familiar classic a fresh personality. The concept works beautifully. If anything, I found myself wishing Patterson had taken the New Orleans concept even further.

Anyone familiar with A Midsummer Night’s Dream knows that much of the evening’s comic relief comes from the band of well-meaning misfits known as the Mechanicals. Yet one of the pleasures of this production is discovering that the comedy doesn't depend solely on them. Patterson’s entire cast demonstrates an impressive ability to take Shakespearean English and make it feel immediate and accessible, turning the language into relatable drama, comedy, and satire. The result is a production that never feels as though the audience needs to translate Shakespeare before they can enjoy it.

The production establishes its New Orleans personality from the very beginning, and Layne Zeiner’s Theseus is particularly well suited to the transformation. He plays the Duke as the quintessential New Orleans politician, smooth, charismatic, and perfectly at home navigating the personalities and politics swirling around him. Deb Zeiner brings an appropriately regal presence to Hippolyta, giving the character the dignity and authority one would expect. John Kleimo’s Egeus, meanwhile, is every bit the stern father, bringing the necessary authority to the character while also making an impression in a fabulous costume. 

The romantic entanglements at the center of the story are particularly effective because the actors find plenty of personality beneath the heightened language. Chris D’Imperio’s Lysander is a lovable goof, combining passion and depth with an infectious comedic quality, while Griffin Yeyna’s Demetrius delivers a strong performance and develops an especially enjoyable bro connection with D’Imperio. Rachel Duong brings a grounded and engaging presence to Hermia, providing a steady center amid the increasingly chaotic romantic entanglements surrounding her. Jordyn McCrady’s Helena, meanwhile, makes excellent use of her comedic timing, finding laugh after laugh while still giving the character an emotional journey audiences can connect with.

The supernatural world is equally entertaining. Marquas Fountain’s Oberon strikes a terrific balance between brawny brute and mischievous trickster, while Elizabeth Stauffer, a powerful actress and local fan favorite, brings a playful confidence to Titania that makes her scenes especially enjoyable. And then there is Robin Goodfellow. Chrissy Nickels is perfectly sprite-like as Puck, bringing a sneaky, mischievous energy to the role that makes her a delight to watch. Nickels also gets one of the production’s more unexpected treats: a beautiful musical solo that showcases her vocal chops. It is another clever Patterson addition, since Puck does not typically receive such a solo in A Midsummer Night’s Dream. Mia Rock as Peasblossom and Dela Showalter as Mustardseed complete the fairy ensemble with performances that are light, free, playful, and wonderfully dance-like, adding just the right touch of enchantment to the proceedings.

But as strong as the rest of the cast is, the Mechanicals ultimately run away with this production, and that is saying something, considering the competition. At the center of the madness is Tim Riggs as Nick Bottom. New to this reviewer, Riggs is an actor I will be looking for in the future. His Bottom is a masterclass in comedic acting, with a wild range, impeccable timing, spot-on impressions, wonderfully expressive facial reactions, and an uncanny ability to play directly to the audience without ever losing the character. His chemistry with both the audience and his fellow Mechanicals is nothing short of remarkable. Bottom is supposed to be larger than life, and Riggs embraces every ridiculous inch of him.

Riggs is surrounded by a Mechanical ensemble that knows exactly how to build and sustain a joke. Alexander Bannon’s Peter Quince is the perfect ringmaster of this particular brand of chaos, playing Quince’s increasingly futile attempts to maintain control with just the right combination of earnestness and exasperation. Elvis Smith takes Snug gloriously over the top, and the audience clearly loved every second of it. Peter Cote’s Francis Flute delivers outstanding physical comedy and develops terrific chemistry with his leading man, while Jered Mackison’s Tom Snout may very well be the best interpretation of a wall I have ever seen. Mackison’s performance produced one of the loudest roars of laughter of the evening, which is quite an accomplishment for someone playing a masonry structure. Jed Hoffman takes a somewhat more serious approach to Robin Starveling, but that makes his contributions all the more effective. Playing the straight man amid the escalating ridiculousness around him, Hoffman finds plenty of laughs simply by refusing to be swept up in the chaos.

That may ultimately be the greatest strength of this production: everyone understands the assignment. Patterson has taken one of Shakespeare’s most familiar comedies and given it a distinctive personality without losing the heart of the original. The New Orleans setting, jazz-infused atmosphere, physical comedy, strong ensemble chemistry, and willingness to embrace the absurdity of the material make this A Midsummer Night’s Dream feel fresh without becoming unrecognizable. More importantly, the production understands that Shakespeare does not have to feel intimidating or academic to be funny. In the hands of this cast, the language becomes part of the fun.

What perhaps says the most about this production is that I attended with my wife, who would place A Midsummer Night’s Dream among her absolute favorite shows, while I would place Shakespeare rather low on my own list of favorite theatrical fare. Yet we both had a fabulous night.

For me, this was one of my favorite productions I have seen at Susquehanna Stage. For my wife, it may very well be her favorite production of A Midsummer Night’s Dream. That feels like a pretty strong endorsement from both sides of the Shakespeare aisle.

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