John-Alexander Sakelos as Peter Quince, Jacob Ming-Trent as Bottom, John Floyd as Flute, Sabrina Lynn Sawyer as Snug
Friends and readers,
The summer is more than half over and I’ve not recommended any summer movies. I have urged as a perfect summer book the treat of an ironic romance, shadowing the gothic at its edges off-stage of Valerie Martin’s Italian Fever, and tonight add (in haste, lest you miss it) the unmeaning (in the best sense) broad farcical fun at the National Building Museum of a Folger production of Midsummer Night’s Dream. A high compliment I can pay it is I felt at moments like I was back in New York City in the Central Park theater watching a Shakespeare play, for this MND like to many Central Park Shakespeare plays was doused in a feeling of local culture (African-American city style) and sentiment (here DC). How happy those nights were for me in the 1970s in NYC under the stars. This one had a little of that wondrous starlight at moments, and was also (not unrelated) a community event:
Danaya Esperanza as Puck at the top; Rotimi Aghablaka and Nubia M Monks as Oberon/Theseus and Titania/Hippolyta on top; the four lovers on either side
I agree with Peter Marks it’s another savagely cut-down Shakespeare, and was done very broadly (precious little nuance was felt, so no sense of intimacy). Still, those central moments for the lovers in the forest, the players’ practicing and production, with the frame of Theseus/Hippolyta as Oberon/Titania(only it is he who falls in love with an ass) was enough. The best lines survived and then some.
Peter Marks omitted what was the fun: filled in was a lot of African-American and recent rock music, Jacob Ming-Trent mimicked a lot of African-American slang phrases and pop culture allusion as well as the culture itself (this Bottom rode an invisible motorcycle) as did the players to some extent and the framing of the noble and squabbling faery lover. Our Athenian pairs were left to be their usual selves. The dance and music performed by everyone immersed us. The faeries’ outfits were magical fantastical:
The same actors played the players as the faeries
I liked some of the costumes as outlandish bizzare: for example, Snug as Thisbe in the play
The red wigged braided hair is Thisbe; the other extravagant lady is Helena (Renea S. Brown)
I suggest that you do not expect a lot of serious philosophic feeling about dreams and/or love despite what is interestingly (in the program notes for the production) claimed by Michele Osterow; what we are given rather is elusiveness and self-conscious self-reflexive ironic highjinks, e.g., Lilli Hokama as Hermia may be little but she is fierce, and tosses Hunter Ringsmith up to the sky. My favorite moments came with Kathryn Zoerb as Moon and Brit Herring as Wall (for whom, alas, I can find no photos). The director was Victor Malana Maog; Alexandra Beller, choreographer; and Tony Cisek (long time Folger person) did the production design.
When I could still see to drive at night and could come to night-time productions, pre-pandemic at the Folger itself, they had another of these Midsummer Night’s Dreams, this one a movie with more sweet sadness and melancholy, elements missing here. But we are (I am) aging and in this at-risk-world of ours, don’t miss out on this gaiety (however vigorous — think robust).
The stage and auditorium as a whole set up in a playhouse space:
Behind the scenes pre production of A Midsummer Night’s Dream stage play.
Ellen
Ellen And Jim Have A Blog, Two 
You could apparently get in to watch the players practice fighting before the production began. The museum has an exhibit on the fire at Notre-Dame de Paris, the history of the building, and what is being done to bring the building back.
While I thought I should not be too emphatic about this aspect of the production I’ll do it here as a response to off-blog comments. — that one of the interests of the production is its large amount of African-American actors, music, cultural elements. This part of what made the production a community event.
Also that instead of Titiana being humiliated at the end, it’s Oberon who is made to fall in love with Bottom. The idea was not so much to humiliate the male as to express sexual fluidity (so I assumed).
[…] No summer should go by without at least one strong dose of Shakespeare and happily I saw an absorbing and enjoyable Midsummer Night’s Dream performed by the Folger Shakespeare Company at the National Building Museum (A Summer Frolic and Community Event) […]
[…] I’ve been to a beach, saw two live plays, Midsummer Night’s Dream (a summer frolic) and Red Velvet, and now a concert at Wolf Trap under the invisible […]
[…] not going to make it better than it was. Like this summer’s DC production of Shakespeare’s A Midsummer’s Night Dream, this was a frolicking, rollicking version of our national ritual plays meant to rouse us out of […]