The Magic of Shakespeare Comes to Life The 1980 Homecoming play not only was the first major dramatic production in the Benson Auditorium, but it was a change in tradition. "A Midsum· mer Night's Dream," the Shake· spearean surprise, departed from the expectations of a faU musical. Director Charles Parker, commented coneering the change, "Because there were so many years of music~.Is. people came to associate them with Homecoming. However, there is a wealth of dramatic literature to be had for an entertainil1g evening." "It was an experiment worth a try. The show let people know classical plays can be fun and entertaining,' I he added. The new Benson stage presented some challenges of its own. The tremendous amount of space seemed like "a monster to fill," Parker commented. Ultimately an elaborate forest was constructed to serve as the set for the majority of the play. Lasting approximately 2 Y2 hours, "Midsummer Night's Dream" was a humorous look at the crazy things that can happen in love. From the time the love potion took hold of the Athenians to the close of the Pyramis and Thisbee play: comedy. madness, and drama prevailed. Parker noted that today's society seems to be filled with the madness of romantic love... It may be time for all of us to stand back and laugh at ourselves," he commented. Approximately 1,200 people viewed the production. "A Midsummer Night's Dream" incorporated three different plots, which called for 10 leading roles. Many people therefore assumed responsibility for the play's success. Audience imagination produced much of the mystique of the show. Actors were occasionally deemed "invisible" by the script and great distances were symbolized in a few feet. Parker commented that modern audiences tend to like realism because of television and the movies. "A Midsummer Night's Dream" was a change from that. But, he added, tricks of the imagination are, in his estimation, good and acceptable dramatically. The cast of thirty-four members labored , along with many others, to make the playa success. Parker spoke proudly of his actors, .. 1 felt really good about the cast. We had people who took to their roles very well. They created larger than life characters and worked together excellently." The group practiced for two to four hours daily for approximately six weeks before opening the curtain on the finished product. Because it was an unconventional play, there were a few obstacles to overcome. It took a while to get used to the Shakespearean language. In fact, Mike Foster who played Oberon found himself asking, "Now what am I saying here" often. Another hurdle was the body language required. Parker stated that Shakespeare provided much of the feeling in the lines, but the actor must convey most of the emotion with his body and voice. The Benson stage was a tremendous asset in this area, giving the actors greater freedom in which to project their character. JefT Hopper, the shows music director. composed and produced all of the original music for the show. Robin Miller, technical director, designed many of the special effects of the productions, utilizing lights, screens, ropes, and veils. After the third performance, the cast celebrated with a party at Riverside Park. They dispersed the traditional Arts and Trauma awards, mock awards that roasted most of the cast. For example, Greg Morrison (Bottom) was honored for having portrayed the role which was most like himself, a donkey. In any play there occurs the unexpected. These " bloopers," and the improvisations they inspire, are s,ometimes the highlight of the show. Parker recalled his favorite "Midsummer's" surprise. "I'll always remember Bob Ritchie accidently falling through the stage floor. It brought the house down, so we kept it in the show." Perhaps speaking for the entire cast, Jeff Johnson slated, "I think it was a good break from the traditional musical. From the start it was a big challenge to make the play entertaining since people expect Shakespeare to be dry and boring. It was a lot of fun, and I'm glad we did it." Although highly pleased with the play's outcome. Parker revealed that he would probably return to the standard musical next year. He was quick to add, though, that the gamble had been worth the risk. - Charles Dupre I. IN CELEBRA TION of his wedding, King Theseus (Ward Bartletl) prepares to treut his guests to a Greek drama. 2. AS DIRECTOR of the acting company that has been commanded to perform for the king, Quince (SCOII Cody) begs Bottom (Greg Morrison) to consider playing the title role in hispfay. 3. KELLY VAN PATTER and Donna Slack float gracefully through the air during the fairies' dance.
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