ACT I’s new production of A Midsummer Night’s Dream, which updates the timeless romantic comedy to a modern cityscape, isn’t exactly groundbreaking—adapting Shakespeare for the contemporary audience is no longer an innovative idea. Regardless, the company fuses energy, playfulness and a courageous ensemble of 24 into a generally winning effort. This is a demanding, language-heavy classic for community theater, and it’s fair to presume that some of the youthful players may not have experience with the Bard’s fanciful poetry. And yet, somehow, director Marc Mazzone wrings passionate and coherent (if raw) performances out of young performers like Hailey Collier, Shane Lowery and Matt Bassett, who make up three-quarters of the play’s contingent of comic lovers (Hermia, Lysander and Demetrius, respectively). The fourth is Lauren Atkins, whose rendering of the hot-to-trot Helena is a marvel of well-delivered words, gallivanting, tongue-in-cheek sexuality and bracing physical comedy. Mazzone injects an intentionally self-conscious silliness into these proceedings, his vaguely contemporary setting littered with scenic and prop enhancements such as cell phones, bottled water, graffiti, old hubcaps, even a real-live puppy. Meanwhile, a mottled musical backdrop featuring pop, light jazz, big band and even electronic textures accompanies the action to giddy effect, in particular a cheesy version of “Love Is a Many Splendored Thing,” which strikes up every time amour is in the air. There are other worthy performances here, including Stephanie Meek as a boldly indelible Titania, Tyson Laemmel as the thoughtful Theseus, Tony Wakefield as the stern Egeus, Bob Young as the lovable fool Bottom and Brandon D. Valentine, whose tattooed punk-rocker of a Puck is thoroughly engaging. John Devine, a latecomer to the cast, performed the role of Oberon last weekend with script still in hand, but came through with uniformly literate results. He’ll be off book for the remainder of the run. Mazzone has gilded his production with a chorus of eight delightful young fairies, played by Grace Bakare, Kendra Carter, Angela Gimlin-Clore, Karen Hicks, Hannah McGinley, Elaina McKnight, Debbie Tannacore and Molly Thomas (who also handles a short solo speech with poise and charm). The deliberately ragged sprites swoop through the action, assist mightily with the many scene changes, and dance and sing with an imperfect yet intoxicating whimsy. This production of Midsummer may flag a bit toward the end, and its running time with intermission heads perilously close to three hours. Yet it ultimately triumphs on the strength of Mazzone’s lighthearted premise and his ability to extract fine performances from his players. Rep gits-r-done Since 1991, David Bottrell and Jessie Jones’ Dearly Departed has been performed all over the country, achieving status as a minor genre classic. Despite its Bible Belt setting and obvious intent to lampoon the ways of trailer-park folks, it still features witty, reasonably good writing, even if its aesthetic is more Larry the Cable Guy than Noel Coward. For Tennessee Repertory Theatre’s final production of the season, director David Alford has assembled a first-rate cast to tell the slight tale of the Turpin family, forced to gather together when Daddy Bud dies suddenly from a stroke. There’s not much plot, but the portraits of big-haired, blue-collar brothers, sisters, cousins, in-laws and friends are funny enough to justify filling out 17 scenes over two acts. Plus, comedy aside, there’s something heartwarming about the way these characters embody the usually inexplicable dynamics of family loyalty and have faith in the power of the well-worn, well-intentioned cliché. The ensemble of 10 is strong everywhere, but special kudos go to Sam Whited, Martha Wilkinson, Rep newcomer Michael Abbott Jr., and Jan Dial, who pretty much steals the show snapping photos of the deceased in his coffin. Jenny Littleton and Bobby Wyckoff together perform five diverse extra-family roles, displaying admirable versatility and unerring comic timing. Their joint portrayal of a doddering old man and his caretaker wife is one of the funniest local stage renderings in recent years. Gary Hoff’s artful and efficient set comprises large revolving individual family portraits, and a clever accompanying score of incidental music mixes gospel and country in satisfying ways—in particular, a funeral-home pipe organ that slyly honks out “The Gambler,” “Dueling Banjos” and “Stand by Your Man.” Dearly Departed plays through May 20 at TPAC’s Polk Theater.
