Tag Archives: A Midsummer Night’s Dream

“Midsummer” Tales: Meet the Fairies!

A Fairy Trifecta:
Kevin Hafso-Koppman, Jacquelyn Ritz, David McBean

As Titania the Fairy Queen, Jacquelyn Ritz has a very clear idea of the role she plays in A Midsummer Night’s Dream, the Musical.

“I like to think of the fairies as Greek gods,” she says.

Her fellow magical misfits agree with her. Occupying the forest throne alongside Jacquelyn sits David McBean as Oberon the Fairy King. Kevin Hafso-Koppman rounds out the fairy trifecta with his gymnastic portrayal of Puck in this Shakespearean classic, reimagined by Intrepid through the sounds of the 60s.

“They are super human beings with super human powers,” elaborates David. “Since the fairies have such power, they seek destruction in a way that’s different from humans. These things that occur in their lives become so much more important to them. And the results of their feelings affect the entire world.”

The main source of fairy angst is Titania’s adoption of a changeling boy, which infuriates Oberon. Titania’s refusal to hand over the boy further stokes Oberon’s fury, inspiring vengeance in the form of a flowery love potion forcing Titania to fall “head over wings” for a Bottom, a Mechanical metamorphosed into a donkey.

“Oberon has no power directly over her, so he can’t change her,” David explains.

“It’s a very man/woman thing,” says Jacquelyn to David. “You’re constantly trying to tell me what to do and I’m constantly trying to work around you to get to your heart.”

And where does trickster Puck fit into this struggle?

“Puck has his foot in both camps – the real world and the fairy world,” says Kevin, elaborating on Puck’s ability to maneuver and help manipulate both the fairy royals and the lost lovers running through the forest. “The whole story and the whole dream are Puck’s flip of the world.”

From this fairy’s perspective, things are certainly topsy-turvy – the human lovers succumb to the magical spells of things supernatural, while the magical monarchs are reduced to petty humanlike spats and acts of retribution.

“I don’t think it’s petty,” chimes in Jacquelyn. “But I’m Titania, so I have to feel that way,” she adds with a smile.

Another topsy-turvy aspect of this Intrepid’s Midsummer revival is the casting. Both David and Kevin were featured in the 2012 production, but in vastly different roles: David played the Mechanical Flute and garnered rave reviews for his “play-within-a-play” Thisbe, while Kevin soared from rope swings as the lover Lysander.

Opportunely, Kevin is able to incorporate this gymnastic ability into Puck.

“This time around we are getting a lot more physical with the role because we are discovering some different things,” he says. “It’s difficult because the last person did something that was so brilliant and so funny and you want to take those little things and put them into your performance, but also create your own thing.“

For Kevin, that “thing” has translated into the construction of a trapeze atop Puck’s perch center stage, from which he is able to incorporate his athletic approach to his heart’s content.

“We’ve been working a lot with climbing and making this Puck acrobatic and supernatural,” he elaborates. “Almost like in this dream world, gravity is less for the fairies.”

For David, the return to Midsummer also included a role as musical director.

“This time around, I get to be a part of the moments where music adds to the storytelling,” says David. “It’s been a treat for me to be a part of the show in an intimate way and to help the new actors learn the songs. They are so clever and remarkable. It’s been an honor to be directing them.”

For Jacquelyn, who recently relocated from Chicago and is making her San Diego debut with Intrepid, the infusion of music into this play just makes sense.

“Music is a great bridge from this world to something higher,” she says. “When you mix that with Shakespeare, which is another way of taking this world and elevating it through poetry, it just heightens it.”

However, this “heightening” does not serve to exclude the audience from their understanding of the play. In fact, it does just the opposite.

“The music clarifies the relationships,” explains Jacquelyn. “People who maybe don’t know Shakespeare as well, still know music. We know songs, we know how we feel when we are singing to someone else or someone is singing to us. It makes more of a connection.”

These fairies are in flight through August 18. Come see them rock the forest and find your own musical connection.

– Tiffany Tang

A Midsummer Night’s Dream, the Musical plays through August 18 at the Clayton E. Liggett Theatre in Encinitas. Tickets available here.
(Photo credits: Daren Scott)

Meet the Mechanicals of “A Midsummer Night’s Dream: the Musical”

Meet the Mechanicals:
(back) Savvy Scopelleti, Brian Imoto, (front) Nathan Riley, Gerilyn Brault, Phil Johnson

Dropping in on the Mechanicals during the early days of rehearsal is not unlike dropping into a cocktail party with old friends – minus the cocktails. And minus any actual history of friendship, for that matter.

It’s true. The five actors who will portray the working class players in A Midsummer Night’s Dream: the Musical, which previews this week, have bonded so quickly, one would think that they had known each other for years, when in fact they all met at the show’s first rehearsal.

“It is the first time we’ve worked as a group, but not the last,” says Phil Johnson, who will be portraying Bottom. “We’re getting a van.”

To be a Mechanical in A Midsummer Night’s Dream means that you get to be responsible for most of the humor in the play, as the band of hopeful actors gathers and rehearses in the forest, falling prey to the machinations of the Fairies.

“It was really fun for me to be a part of the group that everyone remembers as just the clowns,” says Gerilyn Brault, who will be portraying Peter Quince, the troupe’s director. “It’s been really freeing to work with this amazing group.”

This sentiment is a common one, even to Savvy Scopelleti, who will be reprising the role of Snug, which she portrayed in last summer’s production.

“It’s a different show this year,” she says. “It’s a new cast with new energy…and it really did gel so instantly.”

Thankfully this insta-bonding has created a safe environment of play and experimentation, relieving some of the stress that learning both the Shakespearean text as well as the 60s tunes which will be infused into the show can bring. Brian Imoto, who will be playing Snout and who is also fairly new to Shakespeare, takes solace in the fact that the Mechanicals are supposed to be “amateur actors.”

“It was a relief to me,” he says. “We’re off the hook!”

The group immediately dissolves into laughter, something that happens every thirty seconds or so. After spending more than five minutes with this crowd, you bring to wonder how they actually get anything done in rehearsals, with all of the gut-busting going on.

But no one seems to be worried. For now, this group of talented actors and singers are indulging themselves in their off-stage repartee. It can only come in handy once the curtains open this week. Nathan Riley, who will be playing Flute and ultimately the lovelorn Thisby, barely contains his enthusiasm for his tribe.

“If you’re going to see Midsummer this summer, which I’m pretty sure you will,” he says, “this is the one to see.” — T.T.

A Midsummer Night’s Dream: the Musical runs July 11-August 18 at the Clayton E. Liggett Theatre in Encinitas, CA.

Purchase tickets now.