A Midsummer Night's Dream
at SOCSA Dana Hills

Reviewed on March 12, 2015

Jennifer Kaplan
Tesoro High School
Submitted for publication to Orange County Register

SOCSA's "Dream" Packs a Punch

It's a bird! It's a plane! It's…"A Midsummer Night's Dream"? In a creative reinterpretation of the Shakespearian classic, SOCSA at Dana Hills reimagines the comedy in 1940s New York City, replete with a gaggle of Superheroes intent on causing mischief for two pairs of squabbling lovers.

The two male lovers, Demetrius (Andrew Fajardo) and Lysander (Chris Tusan), play foil to one another. Fajardo's militarily straight posture and grim-set jawline create an imposing presence, while Tusan dashes nimbly about. They're best together: while fighting, Tusan sprightly leapfrogs over Fajardo, and their subsequent slap-fight- in which the two stand dumbly as each in turn repeatedly slaps the other's cheek- creates an exaggerated physicality rife with humor.

As neurotic Helena, Melissa Bindi is the embodiment of relentless, unrequited love. Whether she's hunched over, fervently pacing and ebulliently squeezing a book to her chest while mentioning Demetrius, or arching her back and pawing him, she oozes obsessiveness. Her peevishness peaks as she throws herself atop his back and swings her legs giddily over his shoulders in physical manifestation of her lovesickness.

With her rhythmic pacing and fluttering, worried voice, Hermia (Stephanie Argent) complement's Helena's outbursts with measured actions. However, when Helena threatens Hermia's relationship with Lysander, her rationality melts into pugnacity: she collapses and knuckles towards Helena on her haunches, violently clawing at her and frantically kicking, even as she is ripped away.

Conner Kupferberg's performance as Oberon/Batman is both hammy and endearing. He plays to corny superhero stereotypes: dramatically pausing to leap forward in a fighting stance, whip his cape, or enthusiastically punch the air to demonstrate his heroic strength; he also pays homage to the era, at one point slinking across the stage, hand tipping a fedora over his eyes in playful nod to film noir.

From the ragtag rips and patches in the Mechanicals' clothing, to the superheroes' painstakingly researched historical garb, Kim Thomas, Kristen Tucker, and Julianna Guthary's costumes evoke New York in all its suaveness and magic. Thomas's hand-designed patterns bring the 1940s versions of comic-book heroes to life, while the spectrum of bright blues, reds, and yellows make the heroes' garb as vivacious as their personalities.

In combining colorful reinterpretations of classic characters with vibrant technical direction, coupled with an innovative theme, SOCSA's production of "A Midsummer Night's Dream" proves that heroes can be found in the most unlikely of places.

Sara Mackenzie
Tesoro High School
Submitted for publication to Orange County Register

SOCSA Dana Hills Reveals its Powers in A Midsummer Night's Dream

Shakespeare's A Midsummer Night's Dream is given a twist when SOCSA Dana Hills replaces fairies and a Greek setting with superheroes in a post-WWII era city.

The story follows four young lovers, Lysander, Hermia, Helena, and Demetrius as they are caught under the love spell of a band of fairies. Confusion, betrayal, and enchantment occur as supernatural collides with natural, and dreams collide with reality.

Melissa Bindi portrays the lovable, yet awkward Helena with raised, nasal voice and excited, gawky mannerisms in contrast to Andrew Fajardo as Demetrius, who pushes her away in straight-faced annoyance. Meanwhile, Stephanie Argent and Chris Tusan as Hermia and Lysander plan their romantic escape with gushing excitement as they hold hands and gaze into each other's eyes.

The fairy king Oberon is portrayed hilariously by Conner Kupferberg, whose intensely active facials and over-articulation keep the audience involved as he plots his next trick. He springs into action, jumping high and swinging his cape, indicating his arrogant, powerful stage presence. He especially clashes with the graceful, elegant walk and voice of Shelby Grebbin as Titania, as they argue over the fate of a young boy whom Oberon wishes to take for himself.

The Mechanics as an ensemble lazily and foolishly sway about, falling asleep or goofing around with surrounding objects. As they prepare to put on a play of their own, each character uses their unique personalities to portray the ridiculous roles they are assigned, such as Emerson Taylor as Snug, shuffling on all fours and roaring with all of her might as "the lion". Kyle Small as Bottom retains the essential ridiculousness of his character, pretending to stab himself multiple times and dying a very prolonged death as "Pyramus". However, Small also retains a more down-to-earth, humble aspect of Bottom with realistic reactions to his donkey transformation and Titania's sudden infatuation with him.

The creatively designed and hand-crafted costumes by Kim Thomas, Kristen Tucker, and Julianna Guthary fit the 1940s style and took their own unique spin on the superheroes. While paying homage to the original comic books, classic heroes and heroines like Wonder Woman, Batman, and The Flash are recognizable yet have their own kitschy feel, from colorful painted shoes to sequined stars.

SOCSA Dana Hills' A Midsummer Night's Dream treats the audience to a very interesting take on a classic Shakespearean play.

Trevor Lown
Santa Margarita Catholic High School
Submitted for publication to OC Cappies Facebook

Don't forget your cape for SOCSA Dana Hills' "A Midsummer Night's Dream".

One of Shakespeare's most popular plays, the story of four lovers lost in the forest has had many different interpretations over the years. However, this is probably the first to cast The Caped Crusader as The King of the Fairies. Set in the 1940's, this production reimagines the fairies as classic superheroes and the forest as New York City.

Stephanie Argent shines as Hermia, one of the lost lovers, bringing a gentle delicacy that gives way to jealous rage when she loses her lover to Helena (Melissa Bindi). Both Argent and Bindi exhibit unparalleled comprehension of the Shakespearean text, skillfully portraying their lines' subtext.

Andrew Fajardo brings a stern physical presence to Demetrius, who loves Hermia unrequitedly and spurns Helena. Fajardo deftly plays seriousness and stiffness to great comedic effect, most notably in his slapstick fight with his rival, Lysander (Chris Tusan).

Conner Kupferberg imbues meddling Fairy King Oberon, presented as Batman, with a light rasp and sufficient cheese to make him fit perfectly into the golden age of comic books, marrying the Shakespearean source material to the 1940's setting spectacularly. His masculine, bombastic, and overdramatic leaps and bounds contrast hilariously with his pitiful attempts at stealth, crafting a character that never fails to entertain.

The noble Athenians all carry themselves with grace and sophistication. Hermia's mother, Egea (Carlisle Huntington), personifies the doting mother, hilariously dousing her Shakespearean lines in a 1940's New York accent to amazing success.

The low-class and low-intelligence Mechanicals, who perform a play for the Athenians, constantly delight as they roll on the ground, wrestle, and perform their play. They never have an idle moment, constantly either exaggeratedly reacting to the scene or entertaining themselves.

Costume designers Kim Thomas, Kristen Tucker, and Julianna Guthary create the 1940's era and differentiate between the three distinct groups of characters sublimely. The Mechanical costumes reflect their social standing perfectly, evident in the mud and patches. The superhero costumes, completely built from scratch, amazingly capture the comic book aesthetic, complete with popping colors, feathered wings, and flowing capes.

The versatile set design by Layla Burgan, consisting of panels with different settings on each side, allows for swift transitions. The New York skyline silhouette over the stage, painted brick walls, and the benches effectively create the urban setting.

This talented and creative production certainly doesn't need a hero.