This production of one of the most popular of Shakespeare's comedies is a fine example of how to make an overly familiar classic have the impact of a fresh new play. The 1960's era costumes, set design and live music would seem to be sufficient but, as effective as all of these elements may be; we have seen them used before. What really allows the production to soar above the ordinary is the high energy and unrelenting comic spirit that is unleashed by director Marc Masterson and his exemplary cast.

The opening scenes introducing Theseus, Hippolyta and the quartet of mismatched lovers, are played in a straightforward manner; the characters clad in dark, almost formal attire. But once Hermia and Lysander flee Athens for the nearby forest, things open up smartly, as Puck, Oberon, Titania and the band of fairies emerge onto the stage in a variety of wild and colorful costumes that expressively catalog the vast array of 1960's fashion motifs. Oberon is modeled on Jimi Hendrix and Titania is depicted as the ultimate hippie goddess, and the staging references any number of iconic images from that decade, even including a clever pastiche of James Brown's overwrought performance style in an early scene.

All of which might have come off as self-conscious gimmickry if not for the loose and inventive performances to be found among the cast. Edward O' Blenis was appropriately regal and commanding yet human as Theseus, and even more so with his Hendrix-like Oberon, and Jessica Ires Morris was stern and unyielding as Hippolyta, in contrast to her warm and sexy Titania. The four young lovers lost in the woods were nicely rendered by Stephanie Wright Thompson as Hermia, Mark J. Sullivan as Lysander, Andrew William Smith as Demetrius and Elizabeth Gilbert as Helena. Eric Bondoc, making his third appearance at ATL working for Mr. Masterson, is as lithe and athletic as you would want Puck to be, but also fully developed as a character in love with the mischief and magic of his endeavors. It is easy to see why he keeps getting invited back.

Eric Bondoc

The staging emphasizes the comedy over the romance, with slapstick play among all of the characters, but as confidently as it is handled by all onstage, a special nod must go to the "rustics" who arrive to prepare and present the play-within-a-play telling the tale of Pyramus and Thisby. As led by Aaron Munoz, Gregory Maupin and Nathan Keepers as Bottom, Flute and Peter Quince, respectively, these portions of the evening delivered both high and low comedy, often pitched as wide as the side of a barn. During the final scene, just when you thought they couldn't be more over the top, Mr. Munoz and Mr. Maupin pushed things so far into the realm of the absurd that even the other actors onstage were subject to fits of laughter. The three veterans were well supported by apprentice company members Erin Fried as Starveling and Zane Johnston as Snug. These scenes are among Shakespeare's funniest, but they have been done so often that it is a rare treat to watch them brought to life with such go-for-broke attitude.

A live score of original music by Matt Callahan, played by a top band of musicians supervised by Jon Spurney, was employed to fully realize the vision, and very nicely paraphrased everything from Burt Bacharach to The Jefferson Airplane to The Who, without sounding derivative. At several times the characters sang Shakespeare's verse in the form of rock songs, and it was interesting, particularly in the early scenes involving Oberon and Titania, how easily the Elizabethan language was retranslated as psychedelic rock lyrics.

Every aspect of the production design was outstanding, including bold and vivid scenic design by Brian Sidney Bembridge, costumes by Lorraine Venberg, and lighting design by Brian J. Lilienthal.

A classic play that is performed with contemporary comic style and bite, this is a triumph of style and silliness.