Review: A Midsummer Night's Dream at Baltimore Shakespeare Factory

By Jason Crawford Samios-Uy
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Running Time: Approx. 2 hours with one intermission
Lately, I’ve had the opportunity to experience theatre that is not full of flashy sets or intricate costumes, but of minimal design and I’ve grown to appreciate this style immensely. I’m learning that you don’t need all the bells and whistles to tell a good story (notice, I said “good” story) and Baltimore Shakespeare Factory (BSF) demonstrates this near perfectly with their latest offering, A Midsummer Night’s Dream by William Shakespeare, Directed by Tom Delise. It’s good old fashioned story-telling in a serene, outdoor setting that takes you back to the days of old when Shakespeare ruled the stage and people appreciated a good story.

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Titania and the Fairies seducing an egotistical Nick Bottom. Credit: Will Kirk


If you get a chance to check out a production in the Meadow at Johns Hopkins University’s Evergreen Museum and Library… DO IT! In the middle of a bustling city, this small patch of land is the perfect setting for an evening of Shakespeare, and you can bring your own picnic if you wish! The sounds of nature surround you as you watch a timeless story unfold before you performed by able actors working from a flawless text.
In a nutshell (if it’s possible), A Midsummer Night’s Dream is about events unfolding around the marriage of Duke Theseus and Hippolyta, the former Queen of the Amazons. Included in these events are the escapades of four young Athenian lovers, a traveling troupe of actors – The Mechanicals, a bunch of fairies, and the King and Queen of the Fairies who are throwing monkey wrenches in everything while trying to fix it at the same time. Sounds complicated doesn’t it? Well, it’s not too complicated if you pay attention and it’s quite funny and farcical making for a great evening of theatre.
Director Tom Delise, a Shakespeare purist, seems to have a confident grasp on the material. His vision of bringing pure Shakespearean theatre to the stage with little gems of modern day references to tell the story make it easy to follow and indubitably entertaining. He keeps the action moving and interesting creating a smooth flow that isn’t overwhelming to those not as experienced. He manages to keep it down to a nice 2-hours while still telling the entire story which is a feat in itself when it comes to any Shakespeare play. Kudos to Delise for an impeccable production.
 
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Kathryne Daniels and Jeff Miller. Credit: Will Kirk


Costume Design by Jessica Behar is simple, yet very appropriate and effective. Being a fanciful piece with a fairy king and queen and man turning into a donkey, one would think the costumes have to be outlandish and complex, but Behar has managed to design a costume plot that isn’t over the top, but still quite effective. Of course, the togas and tunics are present, but ornamented nicely and subtly differentiating the classes (the upper crust and the actors, really). Tatiana, Queen of the Fairies is elegant in her flowing robe while Oberon, King of the Fairies is aptly costumed in a nature-inspired ensemble with funky headpiece included. Overall, Behar’s design is appropriate, creative, and adds value to the production as a whole.
Moving to the performance aspect of this piece, it’s worth saying the entire ensemble gives 100% to their performance and work quite well together. It’s a joy to watch this cast as a whole and they know their stuff!
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Micaela Mannix, Liz Galuardi, Fred Fletcher-Jackson, and Davon Harris. Credit: Will Kirk


Taking on the roles of the four confused lovers are Fred Fletcher-Jackson as Lysander, Liz Galuardi as Hermia, Davon Harris as Demetrius, and Micaela Mannix as Helena and this quartet hits the nail on the head with their performances. Their chemistry is second to none and they’re comedic timing is delightful. In a particularly farcical scene where poor Hermia is actually sat on by the boys, I was laughing out-loud and thoroughly enjoying the physical comedy before me. All four give confident performances and are a joy to watch.
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A couple of The Mechanicals performing the play-within-the-play. Credit: Will Kirk


The Mechanicals, the acting troupe, compsed of Cheryl Campo, Tess Garret, Jeff Miller, Tegan Williams, Kathryne Daniels, and Shaquille Stewart, much like their name implies, is a well-oiled machine and all work well off of each other. Their mini play-within-the-play had me belly-laughing – especially Jeff Miller, who had the honor of taking on the female role, as many males did in the time period, and he played it to the hilt with an impeccable grasp of the cheeky comedy. Other highlights in this troupe are Shaquille Stewart who takes on the role of Nick Bottom, the egotistical, self-admiring actor, and Kathryne Daniels as Peter Quince, the flustered writer of the troupe. Stewart steals just about every scene he’s in with his physical comedy and superb delivery and Daniels humorously portrays Quince’s frustration with big gestures and asides that work well with the material. It’s a job well done by all.
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Allie Press as Puck. Credit: Will Kirk


Allie Press tackles the role of Puck, the impish go-to guy for King Oberon and she really grasps this character. The character of Puck means well and is only doing his masters bidding but he is also a lurking observer most of the time and strikes when it is most opportune. Press skillfully delivers her dialogue and moves about the stage effortlessly giving a confident, strong performance.
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Elijah Moreland as Oberon, King of the Fairies. Credit: Will Kirk


Definite highlights of this production are the Titania and Oberon, the Fairy Queen and King played masterfully by Valerie Dowdle (a BSF Company Member) and Elijah Moreland. Their chemistry is brilliant and they work very well off of each other. Moreland, in probably the flashiest costume in the production, moves confidently and gracefully taking on not only the intricate role of Oberon, but also of Duke Theseus. He delivers his dialogue clearly and has a good comprehension of his characters. His interaction with the audience is subtle and not in your face which is something I can totally deal with not being a huge fan of breaking the fourth wall. Overall, Moreland has a strong presence on the stage and gives an absolutely commendable performance.
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Valerie Dowdle as Hippolyta. Credit: Will Kirk


Valerie Dowdle also takes on two roles – that of the Titania and Hippolyta and she nails both of these characters. Quite an able Shakespearean actor, Dowdle effortlessly embodies her characters, especially that of Titania, and gives a strong, graceful, and authentic performance. Her comprehension of the material is apparent and her delivery is completely natural, making it easy to follow and understand. Another fine performance from Ms. Dowdle.
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The Fairies and Nick Bottom. Credit: Will Kirk


Final thought…A Midsummer Night’s Dream at Baltimore Shakespeare Factory is a step back in time where there was no need for big spectacles or lights and sound but the actors told the story and the text spoke for itself. Baltimore Shakespeare Factory’s attempt at producing authentic Shakespearean theatre is a success, especially out on the rolling meadow at Johns Hopkins University’s Evergreen Museum and Library. T he actors are well-rehearsed and have an impeccable comprehension of the story they’ve been tasked to tell and their interpretation, along with the vision of Director Tom Delise, is easy to follow and quite entertaining. This is a fun, humorous, timeless tale and BSF knocks it out of the ballpark with this production. Those experienced with Shakespeare or those who are currently discovering his work will be thoroughly delighted and entertained.
This is what I thought of Baltimore Shakespeare Factory’s production of A Midsummer Night’s Dream… What did you think? Please feel free to leave a comment!
 A Midsummer Night’s Dream will play through July 30 at Baltimore Shakespeare Factory, The Meadow at Johns Hopkins University’s Evergreen Museum and Library. For tickets, purchase them at the door or purchase them online.
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Review: Julius Caesar at The Baltimore Shakespeare Factory

by Jason Crawford Samios-Uy
Julius Caesar
Running Time: 2 hours and 30 minutes with one 15-minute intermission
The Great Bard, William Shakespeare, is known by many as one of the greatest playwrights in world history. He has proven himself time and time again with comedies, tragedies, histories, poetry and prose but, even though his language is technically (early) modern English, it can be a tough pill for modern audiences to swallow. It takes a brave troupe to tackle any work of Shakespeare and present it to a present day audience but The Baltimore Shakespeare Factory (BSF) does just that and does it successfully. BSF’s latest offering, Julius Caesar, directed by Chris Cotterman with Assistant Director and Stage Manager Phil Vannoorbeeck, Costume Design by April Forrer, Music Direction by Alice Stanley and Josh Thomas, and Fight Choreography by Tegan Williams manages to keep a modern audience entertained yet keep the authenticity of the play in tack making for a very pleasant midsummer’s evening.

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Music from the Cast Members before the performance. Credit: Jason Crawford Samios-Uy


This production is performed on The Meadow at Johns Hopkins Evergreen Museum & Library and is an absolutely perfect setting for this type of production. There are no sets whatsoever – just a square wooden stage at the edge of a wood and the beautiful backdrop of the trees and the open sky gives a very authentic, natural feeling. The sounds of nature, particularly the crickets and cicadas, though noticeable at first, blended into the production giving an almost soothing soundtrack to the production.
It’s apparent BSF loves music and seems to include it every chance it gets. Just as in original productions of Shakespeare plays over 400 years ago where theatres had a special musician’s gallery above the stage or musicians directly on the stage, BSF follows with the latter. The audience is treated to a few tunes before the performance, during intermission, and a closing number. The songs are mostly modern with minimal instrumental accompaniment including Josh Thomas on the acoustic guitar and cast members playing the cajón (box drum). The tunes chosen by Music Directors Alice Stanley and Josh Thomas are quite appropriate and are well performed by the multi-talented cast members and might have you clapping in time or tapping your foot.
Shannon Ziegler as Marcus Brutus and Katherine Vary as Portia. Credit: Jason Crawford Samios-Uy

Shannon Ziegler as Marcus Brutus and Katherine Vary as Portia. Credit: Jason Crawford Samios-Uy


Cotterman’s blocking is very good, being in the thrust and sans set. The audience is encouraged to sit on all three sides of the stage and the blocking is very fluid, keeping the actors moving. No microphones are used in this production so, an actor with his or her back to the audience is hard to hear and there are quite a few times, depending on where you are sitting, you will be presented with the back of an actor, but not for too long, so not much is missed in the dialogue and most, not all, of the actors are on point with their projection. I have to reiterate… there are absolutely no sets. None. Zilch! However, this does not, in any way, take away from the production because it is actor driven and the hard-working, very talented actors still kept my attention despite the blank stage.
On the way to the Senate. Credit: Jason Crawford Samios-Uy

On the way to the Senate. Credit: Jason Crawford Samios-Uy


Worth mentioning is the combat on the stage in this production. Resident Fight Choreographer and BSF company member Tegan Williams does a magnificent job getting this cast moving like a well-oiled machine during the “fight” scenes with thought-out choreography that does not take away from the performance, but adds to it as a whole. The demise of Julius Caesar is a highlight of this choreography, as well as the battles between Marc Antony supporters and Marcus Brutus supports.
Notably, Cotterman decides to set the story in Colonial America rather than the traditional ancient Rome because, according to his director’s note, he wanted “No togas.” It’s an interesting choice and it does work though there are only slight similarities between Revolutionary America and the story of Julius Caesar, namely the over-throw of a tyrant, or, in Caesar’s case, a perceived tyrant. This change of setting is accomplished using costumes and Costume Designer April Forrer does a superb job dressing her actors in well though-out, appropriate period costumes definitely setting the story in the Colonial era. Though the wardrobe was fantastic and the setting was appropriate, I have to ask if it was entirely necessary to take this story out of ancient Rome. The script was, of course, edited, but not updated so, really, it could have taken place anywhere. Cotterman states in his director’s note (in so many words) that this is a kind of “American Julius Caesar” and he chose to set the story in Colonial times because the era would be familiar but a distant past to his audience just as the setting in the original Julius Caesar, produced in Shakespeare’s time, would be familiar but distant past to that audience. Again, clever idea, but not entirely necessary.
On the way to the Senate. Credit: Jason Crawford Samios-Uy

On the way to the Senate. Credit: Jason Crawford Samios-Uy


Taking on the titular role of Julius Caesar is Anne Shoemaker who looks very comfortable in the role and has a good command of the dialogue. She also has a good presence on stage but her delivery is softer than I liked. There are many times, especially when she is facing away from the audience, where it is very difficult to hear her dialogue and some of her more important lines are lost. Regardless, she gives her all and gives a very admirable performance.
Shakespeare plays are truly ensemble pieces and every character is an integral part of the story but a few standout performances in this production of Julius Caesar include performances by Utkarsh Rajawat as Caius Cassius, Shannon Ziegler as Marcus Brutus, and Fred Fletcher-Jackson as Mark Antony.
Shannon Ziegler as Marcus Brutus, Utkarsh Rajawat as Caius Cassius, and Fred Fletcher-Jackson as Mark Antony. Credit: Jason Crawford Samios-Uy

Shannon Ziegler as Marcus Brutus, Utkarsh Rajawat as Caius Cassius, and Fred Fletcher-Jackson as Mark Antony. Credit: Jason Crawford Samios-Uy


As Mark Antony, Caesar’s right-hand-man, Fred Fletcher-Jackson commands the stage  and is very comfortable with his movements and he gives a very natural performance. In the few parts where his character has to yell to show rage or agony, I lose the character a bit, but overall, his performance is spot on.
Shannon Ziegler as Marcus Brutus gave a brilliant performance and she really seemed to understand her character and the inner conflict he was having. She had a great command of the stage and a strong presence and looked very comfortable and natural having a purpose with every move. Her delivery of the lines is careful and flawless, especially in her monologues.
The highlight of this production is Utkarsh Rajawat as Caius Cassius. His performance was near perfect with a strong presence and command of the stage. Even though it’s Early modern English, he didn’t falter once on the dialogue and, because he his delivery was so natural, there were times I forgot he was reading from a script. He is a joy to watch in this role because instead of just saying the lines and going through the motions, I could see Rajawat took the time to study and understand what his character was saying and it shone through in his on point performance.
Final thought… Julius Caesar is a well-produced show with a very talented, dedicated cast. If you are familiar with Shakespeare, you will not be disappointed and if you are a Shakespeare novice, you will still be able to follow this timeless story of intrigue, conspiracy, and betrayal. Beware the ides of March, but go see this production of Julius Caesar.
This is what I thought of this production of Julius Caesar.… what do you think?
Julius Caesar will play through August 21, Friday-Saturday at 8pm, Sundays at 4pm at The Meadow at Johns Hopkins Evergreen Museum & Library (4545 North Charles Street, Baltimore, MD) or The Great Hall Theater at St. Mary’s Community Center (3900 Roland Avenue, Baltimore, MD). For tickets, call 410-921-9455 or purchase them online.