Preview | Chapman students take on ‘A Midsummer Night’s Dream’

Ellie Lang-Ree (left) and Bianca Beach (right) rehearse for the Department of Theatre’s production of Shakespeare’s “A Midsummer Night’s Dream.” TIFFANY LE, Staff Photographer

Sex, drugs, rock ‘n’ roll  and… Shakespeare?

These might not be things the average person would typically imagine working together smoothly, but at Chapman’s upcoming production of “A Midsummer Night’s Dream,” audiences will see an edgy interpretation of Shakespeare’s timeless comedy. Presented by the Chapman University Department of Theatre and directed by professor Thomas Bradac, the show will take place Nov. 5-6 at the Musco Center for the Arts at 7:30 p.m. both nights, with a 2 p.m. matinee on Nov. 6. 

The classic play centers on four Athenians in a forest, seeking love and being thwarted by Puck the fairy. The Chapman production offers a timely interpretation in its casting of a female for the traditionally male role of Lysander in order to emphasize the transition from the physical to the spiritual and bring inclusivity into Shakespearean works.

Bradac is in his 32nd year at Chapman as a professor in the Department of Theatre, where he is widely revered among students for his directorial capabilities and teaches acting classes that specialize in Shakespeare. “A Midsummer Night’s Dream” marks Bradac’s first in-person production since the COVID-19 shutdowns, and he told The Panther he’s ecstatic to have audiences witness live theater once again.

“I hope audiences go in with an open mind and an open heart,” Bradac said. “Shakespeare is very presentational; it's not a representation of reality. Shakespeare didn't understand the concept of reality. He understood human nature and that's what he's writing from.”

Auditions for the show occurred in spring 2021, first via self-tapes and then through in-person call backs. The cast has been rehearsing since Sept. 12. 

Christopher Hoile, a senior theater performance major who plays the roles of Oberon and Theseus, described the rehearsal process as fast but fulfilling.

“By the first rehearsal, we were supposed to be completely off-book already, which is not something I've encountered at Chapman so far,” Hoile said. “He was like, ‘Alright, get up on your feet; let's run the show.’ (The run-through) was literally (with) no scripts in hand. It was great, because we just had fun with it from the get-go.”

All actors and crew wore masks for the entirety of the rehearsal process, but the cast will be able to act unmasked while onstage at the Musco Center. Hoile is elated for the chance to emote with his full face again, especially under Bradac’s direction, which he first witnessed as a crew member for Chapman’s 2019 production of “Measure for Measure.”

“The masks make it so difficult to emotionally connect with your scene partner,” Hoile said. “Usually you go off of all of the minute details in their face, in order to respond authentically. And when you're working with the mask, it cuts off so much of the facial expression.”

Junior theater performance major Gabi Guevara agreed and said masks were a necessary but difficult part of the rehearsal process. In contrast, she described getting in touch with her character and finding the appropriate voice as easier than usual, despite being restricted to the confines of Shakespearean language. 

“I love Shakespeare,” Guevara said. “It’s easier to act Shakespeare’s text because it's all there for you. All the instructions are there, all of the emotions are there. All the vulnerability is there, all you have to do is bring the poetry to life with how you're saying it.”

Brady Grustas, a junior theater performance major, plays the role of Bottom in the show. His approach to acting in the Shakespearean work involves placing a strong focus on human nature, like Bradac referenced, and merging his understanding of his character with elements of his own life.

“Bradac sent me an article over the summer, and it was titled something like, ‘Bottom as the most human character in the show,’” Grustas said. “That really got me thinking about being truthful, and so instead of transforming into a character, it was more like transforming the character into someone we can all relate to.”

This relatability and hope for a wide-reaching connection is at the heart of Chapman’s “A Midsummer Night’s Dream.” The show promises not only an opportunity for actors to be out on the stage once again, but for audiences to finally feel the thrill of live theater.  

 “Audiences are going to be surprised,” Guevara said. “I think they're going to be uncomfortable. I think they're going to laugh. I think they're going to cry. I think they're going to think it's hilarious. And I think it's just going to be overall really fun for everyone involved. It’s universal.” 

Audiences can buy tickets for all three shows here, and find additional dramaturgical and contextual information here.