A Midsummer Night's Dream

"A Midsummer Night's Dream" has often been called a mixture of gross flesh and gossamer. Any production of this comedy has the problem of dealing with these two distinct elements, and it is a problem which the Harvard Dramatic Club only half solves.

Happily for the audience, the low comedy scenes are far and away the most successful phase of the current production. In this play they are more than a mere concession to the groundlings; they are the height of Shakespeare's achievement in slapstick comedy. There is much room left for comic interpretation, and the H. D. C. makes the most of its freedom. At least the Pit at Fogg Court thought so.

Ian Cadenhead's interpretation of the bombastic Bottom is certainly the most uproarious part of the play. Frequently abetted by John Benedict, Alan Purves, and a Basset Hound named Figaro, he minces, roars, seduces the fairies, and generally manages to keep the comedy on a superbly low level.

A not so fortunate part of the proceedings appears in the world of fairies and lovers. The problems of transmitting the delicacy of gossamer is a difficult one, and one that is not helped by gesticulations appropriate only for a tragedy. It is a challenge that the H. D. C. players are not quite up to; their interpretations, though, are invariably pleasand and ingratiating.

Two actresses who seem to have captured the frothy spirit are Joanne Gilbert as the mischievous Puck and Martha Eyre in the minor role of Pease blossom. Connaught O'Connell is captivating as Helena, and whether pursuing or being pursued by various Athenians, she acts with equal gusto.

The Fogg Arbor Court, with its background of trees and bushes, was the perfect setting for a pastoral comedy. Also in harmony with the mood of the play were the tasteful costumes, designed by Gordon Winchester. Not the least of the credit for a delightful mid-spring evening must go to Tom Billings, who has done an excellent job of directing the production.