Great Britten! A MIDSUMMER NIGHT’S DREAM Closes OTSL’s 50th Season (Review)

Opera Theatre of St. Louis’ latest production is putting people to sleep. Literally. Fortunately, those in attendance are having dreams filled with love and laughter.

Closing its 50th anniversary season, A Midsummer Night’s Dream is a lively interpretation of Shakespeare’s play by Benjamin Britten. Premiering in 1960, this three-act opera presents a truncated version of the Bard’s drama. Omitting the entire first act of Shakespeare’s prose, the libretto for A Midsummer Night’s Dream (written by Britten and his partner Peter Pears) keeps things brisk without sacrificing the charm and wit of the source material.

Told with stunning visuals and dazzling costumes, there is nothing droll, sleepy, or tiring about OTSL’s season finale. Spry, funny, and beautiful, this surreal treat is pure magic.

The story wraps around four distinct plotlines. The first involves Oberon and Tytania, two fairy monarchs who are at odds over the fate of a changeling boy.

Unhappy that Tytania has absconded the child, an angry Oberon counters her actions by moving the seasons around until the boy is returned. Thanks to his handiwork, winter is now spring, and summer is now fall.

Looking to trick his spouse into surrendering the child, the king dispatches the mischievous Puck to fetch a magical flower that makes people fall madly in love with the first creature they see upon waking.

He hopes that this cunning trick will cause her to give up the child.

Meanwhile, two lovers, Lysander and Hermia, leave Athens and head off into the forest. Having their plans to wed challenged by Hermia’s strict father (who wants her hand to be given to Demetrius), the couple sneaks off to elope.

Demetrius is desired by a maiden named Helena, and after observing him spurn Helena, Oberon decides to intervene. He instructs his sprite to enchant Demetrius so that he turns his affection to her.

However, this plan goes awry when Puck stumbles upon Lysander and mistakenly enchants him. This mix-up leads to chaos and both men fall for the wrong partners. Meanwhile, a saddened Tytania is lulled to sleep by the pleasant melodies of her fairy subjects.

Things get even stranger in the forest when a group of workers, eager to stage a play to celebrate the wedding of the Duke of Athens and his bride Hippolyta, meet to rehearse.

Leading the troop is Quince, who has a play ready to be cast. Amongst his troop is Bottom, an over-ambitious performer determined to be the center of attention.

Despite bickering over who plays which part, the company is eager to take to the stage. However, their production hits a snag when Puck, filled with tomfoolery, transforms Bottom, giving him a donkey’s head.

After his casemates flee, Bottom begins to sing, which awakens Tytania, who, under the flower’s spell, falls in love with the transformed actor.

Satisfied that he has proved his point, Oberon releases his mate from the spell. Looking to correct a mistaken enchantment, Puck reverses the allure cast upon the lovers. As a result, Lysander returns to loving Hermia, and Demetrius returns to his beloved Helena.

From here, events in the forest movie quickly to a happy ending. The Duke encounters the couples in the forest and approves their marriages. But before their happy ending, the group is treated to Quince’s ghastly play.

Having survived their show, Oberon and Tytania bless those to be wed. Then Puck closes the opera by enticing the audience to think of these madcap escapades as but a dream.

Directed for the stage by Tim Albery, A Midsummer Night’s Dream is an ethereal mix of romance and comedy. Its captivating ensemble features stirring performances from everyone.

James Laing’s OTSL debut features a masterful performance as Oberon, highlighted by his triumphant singing. Joining him is Jana McIntyre as Tytania, whose equally impressive debut finds her playing the fairy queen with a blend of vulnerability and autonomy.

Debuting bass-baritone Ben Brady’s Bottom provides comedic flourishes that keep the opera festive. Also performing some of the evening’s best singing is Theo Hoffman as Demetrius. His powerful voice is one of the opera’s highlights.

The opera is a homecoming for Jennifer Johnson Cano, a native of Festus who attended Webster University. Her sterling performance as Hermia caps over 25 years of performing with the company.

Also returning to celebrate a half-century of Opera Theatre of St. Louis is maestro Leonard Slatkin. A rock star in the conductor world, his fragile and dreamlike score frames the events onstage. He, along with members of the St. Louis Symphony orchestra, underpin the production with a flawless accompaniment.

Highlighted by a play within a play, A Midsummer Night’s Dream is anchored in humor, tenderness, mischief, and love. Guided by amazing performers, OTSL’s season-ending presentation provides a coy closure that underscores the company’s anniversary. Breathtaking, romantic, and transformative, it affirms that OTSL’s golden year is vibrant and powerful.

A Midsummer Night’s Dream runs through June 28 at the Loretto-Hilton Center on the campus of Webster University.

Productions at Opera Theatre St. Louis are in English with musical accompaniment from the St. Louis Symphony Orchestra. For more information on programming for the 2025 season, visit opera-stl.org.

Photo credit: Eric Woolsey