A Midsummer Night's Dream
at The Sagemont School

Reviewed on March 9, 2019

Mohammad Khalil
North Broward Preparatory School
Submitted for publication to Florida Theater On Stage

A masterpiece by the Bard himself, the Sagemont School's production of A Midsummer Night's Dream is a hilarious tale of mix-ups and magic, with twists that you've never seen before that will leave you wondering, "Are you sure that we are awake?"

Set in the Greek city-state of Athens, A Midsummer Night's Dream tells the story of four young Athenians, each in love with someone they can't have for one reason or another. Their plights leads them into the woods, entangling them in the affairs of the fairy king, Oberon, and his loyal sidekick, Puck, who are in the midst of a plot to shame the fairy queen, Titania. Meanwhile, back in Athens, six actors are putting together a play to perform at the Duke's funeral, when mischievous Puck drags one of the actors into fairy duo's plot against Titania. The play is full of hilarious twists, mix-ups, and some good old fashioned Shakespearean wit.

Playing the dual roles of Oberon and Titania was Marc Plaskett. Despite switching between the two roles, each one was clearly given extraordinary amounts of attention throughout the process, between physicality, voice, and personality. Alongside Plaskett, playing the role of his mischievous servant, Puck, was Eva Daskos. Daskos was en excellent mover, which was clearly visible in her acrobatics and incredible use of aerial silks. She was also very proficient with the Shakespearean dialogue. The Plaskett and Doskos duo had a very special and unique relationship, which was clear onstage, and together, they were a formidable driving force of this production.

In the role of Demetrius, Aaron Cantu brought a lot to the table. He remained active and energetic throughout the play, particularly during a chaotic, yet hilarious four-way fight scene. All four actors involved in that particular scene were clearly enjoying themselves onstage, yet remaining committed and in character.

Along with Shakespeare's already amazing writing and story, this production decided to add a little something more by setting this play in a world infected by zombies. Instead of the play being its usual show within a show, the audience got to be a part of a show within a show within a show. The zombie subplot added a layer of tension and suspense, although, while entertaining, it was at times distracting from the show at hand. Despite being a play, this show boasted some impressive choreography by Marc Plaskett, full of high flying silks, and low rolling tumbling.

We all know Shakespeare has a way with words, and with such rich and complex language, it's not always easy to speak the words perfectly. There were times when the diction of some of some of the actors was unclear, and a few projection issues as well. However, considering the difficulty of the language, the actors did a relatively good job in their speech.

Chock full of salacious humor, Shakespearean innuendo, magical fairies, and of course, zombies, The Sagemont School's production of A Midsummer Night's Dream isn't one you'll forget very quickly.

Rylee Berger
Cooper City High School
Submitted for publication to Florida Theater On Stage

The lights shone down on the stage, spirited music began to play, and fairies adorned in detailed costumes glided into the theater to begin The Sagemont School's unique production of "A Midsummer Night's Dream."

Written by William Shakespeare in the late 16th century, "A Midsummer Night's Dream" is one of Shakespeare's most famous and widely produced comedies. As such, the play has earned various adaptations for film, television, and the stage. Set in a forest just outside of Athens, "A Midsummer Night's Dream" concerns the love affairs of humans and fairies alike. The comedy follows four intertwining plots: that of soon-to-marry Theseus and Hippolyta; that of the passionate but down on their luck theatre troupe known as the Mechanicals; that of the love (or lack thereof) between Hermia and Lysander and Helena and Demetrius; and, finally, that of the fairy world, where betrayal and revenge were prevalent.

A stunning element incorporated into this production was the use of aerial silks. The silks were used in the traditional sense of flying acrobatics by the fairies, distinguishing them from their human counterparts. The silks were also used in unconventional manners to create impressive visual effects and stage pictures. Also unique to this production, the play within a play was complicated by an impending Zombie Apocalypse. Though the choice allowed for stunning special effects makeup and added entertainment value, it was ultimately unnecessary and detracted from the central action.

Populating the stage with boundless energy, Eva Daskos delivered a memorable performance as Puck. Daskos was clear in her character choices and obviously understood the difficult language of the play, delivering her lines with a distinct tone, volume, and rhythm. Most admirable was the physicality Daskos brought to the role. Whether it be gracefully manipulating aerial silks to soar above the crowd or bounding about the stage with an intense look of curiosity, Daskos consistently demanded attention with her stellar portrayal of the young and mischievous fairy. Daskos created believable and entertaining chemistry with Pucks master, Oberon (played by Marc Plaskett).

Plaskett, playing the passionate Titania as well as the cunning Oberon, was superb in his depiction of both roles. Plaskett rose above the challenge of performing two roles that consistently appear together onstage to deliver an energetic, graceful, and dynamic performance, Plaskett made outstanding use of physicality and vocal delivery to differentiate between the two characters. His focus was strong and made for a believable execution of his roles. Plaskett's impeccable delivery of Shakespeare's complicated language aided in the overall accessibility of the production.

The entire cast displayed a good understanding of their respective characters, though some actors could have varied their rhythm and overall delivery of lines. The actors' skill in physical comedy was evident, especially when Demetrius (Aaron Cantu) and Lysander (David Morales) attempted to win the affection of Helena. Despite some pacing issues, the company was successful in conveying the plot to the audience. Actors tasked with multiple roles clearly distinguished them into two separate characters and maintained consistent energy throughout the play.

The technical elements of the show were exquisite. The hair, makeup, and costumes were cohesive and exquisitely complemented each individual character. The use of sound effects and projections made for an immersive theatrical experience.

Filled with strong acting and creative design choices, "A Midsummer Night's Dream" at The Sagemont School was a mesmerizing production, proving that to love and to dream are one and the same.

Stephanie Maestre
West Broward High School
Submitted for publication to Florida Theater On Stage

Come get whisked away into the land of Athens! However, be wary as you make your way into the black box theater, for an outbreak of an infectious disease known as Homo Necrosis could leave you a zombie! Follow a journey of love, jealously and hate through a land of fairies, donkeys, magic and more. Be cautious as you enter the Sagemont School for their production of A Midsummer Night's Dream!

Originally written by William Shakespeare, A Midsummer Night's Dream follows lovers Hermia and Lysander as they plot to flee an arranged marriage between Hermia and her suitor Demetrius. Just before escaping, Hermia tells her best friend Helena of their plot. Helena, who is in love with Demetrius, tells him of their plan to reclaim his love. The lovers enter the forest where other elements begin to come into play, such as the magical sprite, Puck, sent by Oberon, king of the fairies. Elsewhere in Athens, a group of "rude mechanicals" plan to put on a play for the wedding of Duke Theseus and Queen Hippolyta. However, one of the actors was infected by the zombie outbreak and had to be re-casted during intermission. As the show continued, people in the audience were infected and just as the show was coming to a climax, zombies invaded the theatre.

The show overall was intriguing and intense, keeping audience members on the edge of their seat. The actors keep good face and energy throughout the show, though at times they lacked diction and spoke quickly, leaving viewers lost in the already difficult language of Shakespeare. The choreography, makeup, costumes, and other technical aspects were phenomenal, bringing life and detail to the show. Although the creative liberty taken in adding the zombie sub-plot was interesting and well-executed, it didn't add to the show, sometimes distracting from it as the crowd would anticipate zombies rather than enjoy the show.

Commanding the stage was Eva Daskos as the mischievous Puck. Daskos kept a wonderful stage presence, always moving and interacting with other characters. She held beautiful chemistry with Oberon, played by Marc Plaskett. Like Daskos, Plaskett kept a strong stage presence as he swapped between the roles of Oberon and Titania. His strong contrast between the characters helped distinguish one from the other perfectly. His comedic timing was impeccable as he kept the audience entertained with his wit and flamboyancy.

The beautiful Hermia was portrayed by Ariel Seligman-Delgado. Her chemistry with Lysander and hateful emotions towards Demetrius shone as she graced the stage with her high energy. Helena was played by Skylar Scorca whose pacing was maintained perfectly. Her love towards Demetrius was eminent throughout the play. Aaron Cantu took on the role of Demetrius and was an intense and emotional character. When playing Nick Bottom, he became a highly comedic character.

The ensemble of fairies danced across stage beautifully as they climbed the silk ropes. Their energy and stage presence were choreographed perfectly, especially with Oberon/Titania. They maintained good face and stage business for most of the performance. The lighting was effective in showing changes in plot or character, such as when Oberon switched to Titania. The use of space was well executed as the actors and sets could present to all sides of the room effectively.

As Shakespeare once said, "The course of true love never did run smooth." As you enter the theater, make sure you have hand sanitizer at your disposal and remember the symptoms of Homo Necrosis, but don't forget to enjoy a Midsummer Night's Dream!

Nya Hedman
South Plantation High School
Submitted for publication to Florida Theater On Stage

What happens when a Homo Necrosis outbreak and Shakespeare cross paths? Find out in The Sagemont School's production of A Midsummer Night's Dream… or nightmare.

A Midsummer Night's Dream, written by William Shakespeare, is a show within a show that follows the story of a love triangle, amateur actors, and feisty fairies. The comedy has seen many adaptations in theatre, film, and literature and is one of Shakespeare's most popular stage works.

While the original plot of A Midsummer Night's Dream is one that has gained immense prominence throughout its history, Sagemont's take on the Shakespeare classic was a little out of the ordinary. On top of the plotline that follows a show within a show run by fairies, Sagemont's cast and crew added a new sub-plot that set the show during a Zombie Apocalypse. While the concept was unique and worked well with the casting, it often times added a bit of confusion to the already intricate and outrageous plotline and detracted from the fantasy world being painted.

Playing the roles of both Oberon and Titania was Marc Plaskett, whose performance was well beyond his years embodying both characters through incredible physicality and voice manipulation. Plaskett was able to switch between characters effortlessly, never leaving a moment of confusion as to what role he was portraying and always delivering a captivating performance. Alongside Plaskett was Eva Daskos as Puck, who brilliantly personified the fairy creature with resounding energy and an unparalleled physicality. Both of these actors stole the show with their exceptional performances.

The supporting cast worked extremely well together to bring the story to life. Some notable performances were Ariel Seligman-Delgado (Hermia/Tom Snout), Aaron Cantu (Demetrius/Nick Bottom), and David Morales (Lysander/Robin Starveling). All of these actors played multiple characters, requiring them to make clear choices to set them apart. The characters all had wonderful comedic timing and worked extremely well with one another.

The technical aspects of the show were equally as commendable as the performance. The costumes as well as the hair and makeup, which were entirely student made and produced, completely transformed the characters. The fairies in particular were especially praiseworthy, as the details in both of these elements were absolutely superb. The lighting and sound cues in the show were spectacular, never missing a cue and completely transporting the show from scene to scene. Both of these aspects were vital to setting the show as the production featured nearly no set and minimal props. However, the choreography of the show was the highlight as it heavily featured the use of silks by many of the cast members. This added element made the fantastical spirit of the show even more prominent and was an extremely tasteful addition.

The wonderful technical elements paired with a terrific performance by the actors, allowed for an extremely successful production of A Midsummer Night's Dream at The Sagemont School.

Gabriela Coutinho
American Heritage School
Submitted for publication to Florida Theater On Stage

Imagining "shadows" that appear in A Midsummer Night's Dream, one would never conjure a presentation interrupted by apocalyptic outbreak. Yet at The Sagemont School, students - through tech, special visual effects, and an almost complete telling of Shakespeare's classic - somehow joined zombies and Shakespeare for a metatheatrical concept. Meanwhile, the actual play established great moments of stagecraft, bringing the verse to life through movement, energy, and even aerial silks.

For its frequent performances, A Midsummer Night's Dream is arguably William Shakespeare's most popular work, and countless productions set it across time and space. Often, changes do not drastically affect the script, but its nuance, and are made within the actual play - rather than the context surrounding its presentation. At The Sagemont School, however, the students took on the challenge of communicating distinct premises for the play, even while "The Dream" itself already poses the task of weaving three plotlines.

In it, actors stepped in for roles as previously casted actors were lost to the zombie epidemic. By this justification, most students unconventionally played two roles, most notably with Marc Plaskett playing Oberon and Titania. Plaskett's vivid vocal and physical command of the stage merited his roles' king and queen status. As shifts between the two proved smooth and comedic, his Titania held airs of seduction and drag, while Oberon bore traditionally masculine energy. The scene with Bottom in Act II (Aaron Cantu) was especially hilarious, as Cantu attempted to edge away from a completely infatuated Titania.

Another lead with captivating stage presence was Eva Daskos, who gave Puck the demanded physical lightness and playfulness. Not only providing comedic relief through bits interacting with the foolish humans, Daskos also honored the text through a clear, supported voice and delightful specificity. Her connection to Oberon and mysticism throughout the show - complemented by shadow work, blue lighting, and fairy music - distilled the supernatural element "The Dream" fancies. Other comedic moments in the show derived from scenes with the lovers, specifically players' cruelty toward Hermia, and the mechanicals' use of props (namely the hand sanitizer) when the epidemic escalated.

Some of the most stunning, immersive aspects of the show were found in staging and technical elements. Visceral blocking, fights, and choreography for the fairies proved engaging in a very well-played tennis court layout. As aforementioned, tech surrounding the fairies emanated an aura of magic, especially when it came to impressive aerial silks. While the extrinsic concept detracted from the play itself, students' commitment to both aspects was commendable, and their presentation of the iconic play-within-the-play was missed; the same team could have produced a more cohesive Shakespeare play or fun zombie play, but both ultimately fell short when put together.

Mounting a Shakespeare play is an immensely strenuous task, and combining roles and layering a unique concept only raises the difficulty level, thus making The Sagemont School's production of A Midsummer Night's Dream a particular feat - one undoubtedly requiring the bold risk-taking which manifested onstage. As Shakespeare noted on the nature of love, which may often appear a contagious disease fashioned to make humans go mad, the players were indeed "rough with love."