Theater Online - New York Theater Reviews

Now playing at the Mcginn Cazale Theater is HoNkBarK! company's latest

production, "A Midsummer Night's Dream." One of Shakespeare's most enduring

comedies, "A Midsummer Night's Dream" a la HoNkBarK! includes a mammoth cast of

22, complex fight choreography and cross-gendered casting. In this version of

"Midsummer," Linda Jones takes on the male role of Lysander, fair Hermia's

devoted lover, and plays Lysander as a female. This makes for interesting

commentary on same sex couples, particularly at the top of the play, where the

lovers decide to elope because the Duke forbids their marriage.

Ms. Jones makes for a fierce Lysander. However, at times, she rushes

through her dialogue; her rapid line delivery is somewhat disorienting and takes

the audience out of the world of the play. As Hermia, Sorsha Miles stands apart

from her cast mates, delivering a well rounded and solid performance. Sara

Moore bravely assumes the role of the farcical and charmingly egotistical

Bottom. Ms. Moore clearly has a penchant for comedy and a wealth of comedic skill;

she does, after all, have extensive experience with circus performance.

However, it seems that Ms. Moore has borrowed too much of her circus background for

the role of Bottom. In this "Midsummer," Bottom comes across as a goofy

cartoon character. Unfortunately, Ms. Moore has missed that what lies at the heart

of Bottom's comical follies is his genuine belief that he is a formidable

actor, despite all evidence to the contrary.

Bottom's wayward troupe of actors includes Francis Flute (Richard

Bolster), Peter Quince (Todd Faulkner), Starveling (Jo Mei), Snug the Joiner (Shauna

Miles), and Snout (Bridgette Shaw). As Francis Flute, Richard Bolster delivers

an effective and charming rendition of Thisby in the play within the play.

The rest of the mechanicals, however, seem too self-conscious in their pursuit

of comedy. Rather than make specific character choices, the actors who play the

mechanicals have chosen to play caricatures and, in the process, have

succumbed to comedy's fatal trap: playing what the actors themselves believe to be

funny.

Director John Ficarra makes good use of the multi-level set, expertly

designed and implemented by Scott Aronow. There is the feeling, however, that

Ficarra has allowed his determination to make good use of the marvelous set to

overpower his directing process.