A musical version of Shakespeare’s A Midsummer Night’s Dream, Helena & Hermia in the Enamored Odyssey whirls and bumbles us through love’s entanglements. What sets this production by the Impostors Theatre apart is the genuine fun the cast has as they partake in Shakespeare’s crisscrossing plot and Dominick Alesia’s varied music and lyrics. Directed by Stefan Roseen, an already convoluted story becomes yet more whimsical, poking light fun at its own convolution.
As a musical adaptation, it works wonderfully. Many of the standout songs come from the mechanics, Nick Bottom (Ian Rigg), Petra Quince (Annika Andersson), Francis Flute (Sam Martin), Robin Starveling (Bruce Holtman), and Tamsin Snout (Maya Reyna), whose varied ensemble numbers include a stomping sailor’s chant about “barley beer.” A duet by the title characters Helena (Anna Roemer) and Hermia (Shannon McEldowney), and the title itself, put a feminist emphasis on the women’s empowering refusal to be subject to male lusts, an emphasis that gently critiques and accommodates Shakespeare’s original for our times.
Constant reminders of Shakespeare’s authorship—the characters speak of “the bard” as if he’s a deity—and references to his other plays, as when Helena, Hamlet-like, upholds a skull and pines, contribute to the hilarity of this production. A whole song, referencing “how Shakespeare intended” his play, evokes much laughter as characters bicker about who the bard most favors. A parody of Romeo and Juliet’s balcony scene, pulled off with comic melodrama by Reyna, still further presses the goofy self-awareness of this musical.
This adaptation exaggerates the quirky elements and fourth-wall-breaking beyond the original, intensifying the play’s light-heartedness and never sacrificing a moment of fun. That being said, moments of grace and mysterious beauty unfold between the humorous parts. Alesia’s live piano music and Anna Roemer’s choreography fuse with haunting fairytale beauty when Puck (Rachel Borgo) first enters the scene in the enchanted forest. She unfolds like a flower with strange elegance and moves with sinuous grace. Borgo’s Celtic-sounding accent complements the character well, as do her many quirky behaviors: nibbling on a mermaid’s tail, for example.
A sword-fight between Demetrius (Zachary Riley) and Lysander (Ethan Gasbarro), amidst the ceaseless whimsy, makes for a great laugh. Demetrius taunts his rival, tossing his mane and posing with knightly rectitude, and Lysander at times cowers with his sword weakly upheld. All the various lovebirds gesture and speak in an exaggerated Elizabethan style to great effect, thanks to Ian R.Q. Slater’s work as dialect coach. The actors seem to enjoy making excessive bows and tossing their hands high in melodramatic fashion. Toria Olivier’s costume design, which feels fittingly 18th century or so, also adds to the parodic fun.
A laugh-out-loud musical, not without moments of romantic insight, might make for an exciting and playful night out this spring. Shakespeare lovers will be delighted by this production’s unique take and over-the-top exuberance.
Helena & Hermia in the Enamored Odyssey by the Impostors Theatre continues through April 12 at the Den Theatre, 1331 N Milwaukee Ave. Tickets are $25-26. Running time is approximately 2 hours and 45 minutes with one 15-minute intermission. Get your tickets here.
For more information on this and other productions, see theatreinchicago.com.
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