Fresh ëDreamí Shakespeare Theatre Produces Unusual Version of Bardís Play by Lisa Troshinsky Despite the countless times and ways ìA Midsummer Nightís Dream,î one of Shakespeareís most popular plays, has been performed throughout the ages, the Shakespeare Theatre has managed to produce a version so fresh that you will think youíre viewing the latest craze on Broadway. Fairies and furniture fly, the fairy king and queen walk on stilts, and lovers wrestle in water. ìItís Arthur Rackham [English childrenís book illustrator] meets Cirque du Soleil,î said Kathleen Lynch, executive director of the Folger Institute, at the Shakespeare Theatreís ìWindowsî discussion. Radically different from the Shakespeare Theatreís production of ìMidsummerî four years ago (whose fairies were innocent and nymph-like), this productionís spirited players carry construction lights and are clad in torn camouflage dungarees and shirts, combat boots and silver, pointed hats that adorn huge brown wings and are almost insect-like. The fairy costumes were designed by Constance Hoffman and inspired by photographs by Robert Parke-Harrison. But this depiction isnít so off center. In Shakespeareís Elizabet han times, fairies were usually depicted as ugly, human-size creatures who were to be feared. The Bard was the first to portray fairies as graceful and benevolent (though admittedly mischievous). ìWe have earthbound fairies who wear rags, things theyíve found,î said Jef Hall-Flavin, the Shakespeare Theatreís resident assistant director. ìOnly a couple of them can fly. Theyíre not that different from us.î The forest where the fairies rompóalong with lovers and rusticsóhas menacing stilted trees, strewn twigs and brush, and overturned, broken chairs. A waxen moon, in various lunar stages, shines constantly. Hall-Flavin said these choices were made to emphasize Shakespeareís theme of metamorphosis in the play. Compared to the empty, evocative set of Athens in the first scene, ìthe forest set is earthy with leaves and sticks and water,î he said. ìThe one place in the woods where everyone gathers acts like a place of baptism, where all transform into something else and worlds collide. The woods and the moon provide a rebirth, where humans can shed the confined masculinity of Athenian law and go to a more feminine place. We all have both the masculine and feminine inside us, but often donít allow the feminineócaring, nurturing and warmthóto come out.î To emphasize this transformation, director Mark Lamos, who also directed ìMuch Ado About Nothingî at the Shakespeare Theatre last year, cast only one actress (Lisa Tharps) to play Hippolyta, queen of the Amazons, and Titania, queen of the fairies, and one actor (Mark H. Dold) to play Theseus, duke of Athens, and Oberon, king of the fairies. The humans transform into fairies throughout the dream. Another unusual decision made by Lamos was to add another characteróthe changeling boy, over whom Theseus and Hippolyta battle for custody. In most ìMidsummerî productions, the boy is only referred to in the text and not seen. Although the changeling has no lines, his presence is constant, propels much of the play, and it appears that the dream we witness in the forest could be his. Although this productionís set and stage tricks are fantastical, they donít run the risk of overshadowing the skill of the acting, as could easily happen in a well-established theater such as this one. The four loversóNoel True as Hermia, Kate Nowlin as Helena, Paris Remillard as Lysander, and Paul Whitthorne as Demetriusóare delightfully playful, energetic, articulate and humorous (much of this to the credit of Lamosís direction). David Sabin, as Bottom, almost steals the show and seems perfect for this part. His Jackie Gleason-like physical humor, hysterical expressions and comic timing are just what the Bard ordered. Matching Sabinís ability is Daniel Breaker as Puck, who weaves the story together with his supernatural mischievousness. Breaker is equally comfortable dashing on and off stage expounding famous quotes as he is at adeptly executing Sean Curranís somewhat advanced choreography. Although Breakerís body type is larger than most Pucks, he is agile, quick, childlike and confident. Tharps and Dold are strong and likeable in their double roles, but especially as queen and king of the fairies. In addition to Hoffmanís distinctive fairy costumes and stylishly appealing 1920s garb for the lovers, her dress for Titania and Oberon will take your breath away at first glance. All told, youíll come away from this production with a smile on your face, a skip in your step, and a secret in your heart. "A Midsummer Nightís Dreamî runs through Jan. 4 at the Shakespeare Theatre, 450 7th St., NW. Tickets are $16 to $66 with discounts available for groups, seniors and students. For more information, please call (202) 547-1122 or visit www.shakespearetheatre.org. Lisa Troshinsky is the theater reviewer for The Washington Diplomat.