It's a Hit!

"A Midsummer Night's Dream" has opened, and audience reception has been wild and rapturous. The play has survived 400+ years of theatrical experimentation, so perhaps it is not a huge surprise that it should once again work its charms on an audience. However, Kevin Moriarty's production of the play is so completely engaged in giving the audience a fully immersive, environmental experience, that they have been delighted and startled by a "Midsummer" they have never encountered before.

There is some formidable directorial artillery on display. First of all, the play is staged on all three levels and on all three sides of the new Wyly Theatre in its thrust configuration, eliminating any separation between performer and audience. For instance, Helena takes refuge inside the audience stalls when Hermia declares war on her in the woods. The fairy world is also realized in a way that uniquely engages with the theatrical space. Moriarty was inspired by the artist Keith Haring in implementing the metaphor of chalking as fairy magic in the world of the play. As soon as they enter the story, fairies run around the entirety of the theatre chalking icons and tags, their equivalent of releasing spells of mischief and love around the house.

A sample icon (this one belongs to Puck, the mischief-maker of Love):

By the end of intermission, the entire theatre has been transformed into a gorgeous tapestry of chalk graffiti, living embodiment of the audience's engagement with the play.

This is a sample of the fairies' chalking - here presented on practice paper:

This is what the theatre looked like, post-intermission, when the brunt of the chalking (with audience help) takes place:

This yellow drop is revealed after four acts of monochromatic marbled black, symbolizing the impact of Love in a tyrannous court:

Moriarty plays his strongest suit at the end of the play, when the lovers' wedding night transforms into a full-on wedding celebration and the cast invites the entire audience up onto the stage to bless and celebrate their new home with them while they execute a full-on sung-through and choreographed top 40 hit parade. As the theatre shakes with dancing and delight, the audience also experiences a series of stunning reveals: first, the yellow painted drop flies out, revealing the entire backstage of the theatre, readied for a disco party; then, a stream of balloons releases from the roof while beach balls appear from the corners and join in the celebration; then, a curtain of bubbles descends upon the assembled crowd, and as they look up, the window shades of the theatre lift up and reveal the city of Dallas through glass walls.

The party from outside:

The party from inside:

The critical reception has been rapturous. The leading Dallas papers and blogs have embraced the show, commenting in particular on the immersive nature of the production, and on the connection that young theatregoers are finding through their experience of the show. You can bet Dallas audiences will be lining up for the rest of DTC's offerings in the upcoming season, their 51st, and the 1st in their new home. Here's to the next 50 years!

(posted by Ed)