On Friday evening, the campers went to their first show at the Blackfriars Playhouse, the opening night of The Tempest. Everyone was dressed for the occasion, and it was great fun to see the campers all cleaned up. After a week of yoga pants, running shorts and T-shirts, here they were, sporting ties and hats, heels, summer dresses, scarves, and suspenders. Their enthusiasm infected the whole playhouse. Sometimes this energy showed itself in silent rapt attention, sometimes in applause after a particularly impressive scene, and at intermission their energy broke into dancing to the actors’ music as they waited in line for the snack cart. I had hoped to go with the campers to The Importance of Being Earnest the following evening, but the house, including standing room, was completely sold out, so I had to take it on good report that everyone had a good time.
The weekends at ASCTC feature a lot of much-appreciated time out of doors. During the weekdays, the campers are free to spend time outside during their siesta after lunch, either on the Stuart Hall grounds or walking in pairs around downtown Staunton. Sometimes in rehearsal a few campers will head outside with an assistant director, working on another scene or running lines while the director works on a different scene, but otherwise most of the workshops, lectures, and rehearsals are held indoors. On Saturday, however, all the campers went to Gypsy Hill Park for a picnic lunch, and on Sunday, everyone headed to Lake Lofton for a day of cookouts and sunshine and swimming -- exactly what they needed after a week full of working their minds.
Monday morning opened with other pair of workshops, one in Voice with Allison Glenzer and another in Alexander Technique with Jeremiah Davis and his teacher, Daria Okugawa. She describes Alexander Technique as an endless study, like learning to play a musical instrument, but says that even a few pointers in a 2-hour workshop will give you enough to start thinking and working. Much of the morning was spend simply identifying areas of stress and tension in our bodies and in our lives and realizing that awareness of these areas will allow us to change our habits, so we can expend less energy on simple actions like walking or sitting or standing and be more focused on whatever task we are hoping to perform.
This was my first experience with any sort of Alexander workshop, and though I usually sit and take notes on the workshops, Jeremiah encouraged me to join in, saying that I’d learn a great deal more by doing it, rather than by just looking at the campers work. The most amazing thing for me was watching the way that the campers' bodies changed just by having Okugawa shift their head or shoulders so that their spine was erect and not curved or slumped to one side. Suddenly the teenagers I had become used to seeing as slumped, tired, or lacking physical confident turned into beings of statuesque beauty and elegance. Every inch of their bodies became suddenly engaged and alive in a matter of seconds. The rest of the campers were gasping at the change, which wasn’t necessarily one they could hold onto, as all of them had build some pretty strong habits. At least now they knew what they were capable of, had had a glimpse of it, and they can take that shimmer into the way they carry themselves in the world.
Header Picture
29 June 2011
Interview with Hugh, Emma, and Finn
Finn had mentioned in a lecture that morning that he had never been to a Shakespeare play before this past weekend, so I asked him at lunch if he would be up for an interview, and as it turned out, I got Emma and Hugh as well. Hugh is a veteran of this camp, but Emma had also never seen a Shakespeare play, and they were both eager to talk.
Me: So Hugh, you’ve been to lots of shows at Blackfriars, right?
Hugh: I’ve been going to the Blackfriars for I don’t know, maybe two or three? Three years.
Me: And what have you seen? What is the best show you’ve seen?
Hugh: [...] My top three would definitely be Tempest, because the crossdressing scene and the Shakespeare rap just blew my mind. But then the other two before that would have to be Titus Andronicus. Just because it was so well done.
Me: What made it well done? What did you like about Titus?
Hugh: Sarah Fallon. And the tasteful use of blood. Not over-blooded, not under-blooded, but just the right amount of blood. And I don’t know, good acting. And there was another one. [...] Taming of the Shrew. Favorite play ever. Loved Petruchio. Ben Curns. Love Ben Curns. So awesome.
Me: [...] So what about you guys? Never been to a Shakespeare play?
Emma: I’d never been to a Shakespeare play before.
Me: […] So what brought you to this camp?
Emma: Well, for the experience! 'Cause it’s completely different from what I’ve been trained to do.
Hugh: What have you been trained to do?
Emma: Always face the audience, never turn your back on the audience, and now, you’ve got audience all the way around you. It’s really, really different from what I’ve learned. Being able to see it all and with the lights on. I’d never even heard of that. [...] The Tempest was the first Shakespeare Play I’d ever seen, and it just absolutely blew my mind, so fantastic. My favorite line of Shakespeare is, “We are such things as dreams are made on,” and it had totally slipped my mind that that was the play it was from, so when he said that line, I totally had a spaz attack in the middle of the audience. It was hilarious.
Hugh: Me and Cam, we were just dying. […] I had heard the “We are such stuff as dreams are made on” speech like so much. I never had to say it, but I have it pretty well memorized because they say it at the end of every day at the [Virginia] Renaissance Faire, which is an awesome closing speech. And I was like “that’s The Tempest!” And I was just making Cam die, because I was just leaning over and whispering the lines. Prospero would say a line and I’d be like “next line.” I’d whisper the line, and then he’d say it, and then I would say a line, and then he would say it, and she was, like, so confused by me, like, “Why do you know what he’s saying!?”
Me: Finn, you’d never seen a Shakespeare play either,
Finn: And it was so drastically different from my views of Shakespeare.
Hugh: Well, this is not normal Shakespeare.
Emma: Yeah, that’s true.
Me: What were you expecting?
Finn: For one thing, I didn’t expect to understand it or follow the plot at all. I thought, “It’s going to be words I don’t know, spoken way too fast.” Because I’ve read Shakespeare, but I’ve always had to read it, to read each line, six or seven times. And I thought I’m not going to be able to do that, and it’s just going to be really fast talking, and not even, or hardly even English, and I’m not going to know it. And then I went there, and for a moment I was totally terrified, and then not only was it understandable, like really comprehensible, it was also surprisingly relatable, it didn’t seem that ancient at all.
Hugh: That’s why we still do Shakespeare.
Finn: It seemed really connected to modern life in a way I didn’t think was actually possible.
Emma: What I absolutely loved about this was that when we went to see the plays, we knew the actors. It makes it so much better, just really, really cool.
Hugh: Ariel, the music guy [Greg Phelps].
Finn: We wrote a song with Ariel!
Emma: And Miriam [Donald] played Miranda.
Me: And you had voice with Alli [Allison Glenzer]?
Emma: Just yesterday.
Hugh: I haven’t yet, I’m looking forward to it.
Emma: Yeah, it’s pretty awesome, she taught me how to vacuum my lungs. Oh. Mygod. It was just amazing.
Me: How do you vacuum your lungs?
Emma: You breathe all of your breath out, and when you think there’s no breath left in you, you keep breathing out. And then you put your hand over your mouth and then your nose, and then you hold it for a very, very long time until you can’t hold it anymore and then you breathe in and you can feel it, and it’s just awesome.
Me: So, it’s to help you breathe deeper?
Emma: It’s to open your lungs, kind of vacuum out everything.
Me: cool.
Emma: I never heard of doing anything like that, and the second she said we’re going to vacuum out your lungs, I was like, "ohmygod I’m so excited!"
[everyone laughs]
Finn: That would not have been my original response.
Hugh: I would not have been excited.
Emma: I just love making a better environment for singing.
[lunch was pretty much finished by this time, and all the campers were dispersing, so Finn summed it up for us]
Finn: So the moral of my story is I was pleasantly surprised.
27 June 2011
End of Week One
We’ve finished the first week of camp, a week full to the brim with workshops. Already the campers have had classes in music, stage combat, text analysis, mask and movement, clown, and dance with actors from the ASC and from other theater professionals. To highlight just a couple of these, I’ll share a bit about Greg Phelps’s music class and Jeremy West’s stage combat.
Greg began his class by walking through some elements of music: rhythm and melody, harmony and dynamics, all the components which make it dramatic as its own art and add to the drama of a play. Next the campers analysed some songs in Shakespeare’s canon, suggesting adjectives to describe the different pieces. “Come away, come away death” is pretty hardcore sad, all about unrequited love and wanting to die because of it, whereas “Oh Mistress Mine, Where are you Roaming?", a song concerned with the shortness of life and the sweetness of love, has a gentler melancholy. Before long the campers used these ideas to work together and write their own song of “Under the Greenwood Tree.” Guitars, ukuleles, violin, melodica, Irish drum and beatboxing combined to make a many-layered song, one they could all be proud of. Throughout the process, Greg emphasized the power of “yes.” When people work together creatively, disagreement stops progress, so whenever there were two different ideas on the table, almost every time we found a way to incorporate both ideas into the song, using every person’s creativity to the utmost.
Stage Combat is probably one of the subjects that campers get most excited about learning, and that parents are least excited about their children trying out. In Jeremy West’s class, there was no end of precaution in the process, because safety is so crucial to the performance of any sort of effective combat. The campers learned several different punches and slaps, where each camper’s hands do not even touch their scene partner, but the two work together to “sell” the action and to make it look convincing to the audience. After slaps and punches, they went on to hairpulls and drags, again actions that look terrifying, but are incredible to watch when you know that the actor who looks as though he is the victim is actually the one in control of what’s happening in each scene. Because of an odd number of participants, Rebecca Speas (one of the counselors) was working with one of the campers, and in the scene they were creating, Speas was ripping one camper around by his hair yelling, “Learn your lines! Learn your lines!” to which he frantically yelled in reply, “I will, I promise!” Two minutes later, they laughed and switched roles, this time with the camper yelling, “I’ve learned them. There are no more!”
Other parts of the class included lots of practice in how to fall safely, and how to do a sitting, a standing, and a jumping role, giving all of the campers all the tools they need to act responsibly and safely onstage.
Besides the workshops, and, of course, rehearsals, Dr. Paul Menzer, the director of the MLitt/MFA program in Shakespeare and Performance, came to lecture about Shakespeare and text. He brought in an Arden Complete works of Shakespeare in a large heavy volume, a laptop, a smartphone, and a flashdrive, and made the point that they are all the Complete works of Shakespeare. Each one is a piece of technology used for conveying information, just vessels for their contents. But here is the paradox: despite containing all the same words, the vessel does make a difference. Whatever we might say, the medium changes the message.
Armed with this mindset, Menzer lead us to explore how books and papers and inks and handwriting and printing and the whole culture of text were different then than they are today. How do theses differences change the way we understand Shakespeare, and what might that mean for future generations, when books are no longer the primary means of accessing literature?
Menzer also touched on how much individual characters in the plays say about themselves and the characters around them by their words, by the way they are addressed, or by how they address others. Ophelia is constantly in a lower status than the characters around her. She has no nurse or handmaid, the people she talks with while sane are the Prince, her father, and her older brother, all of whom are telling her what to do. Also interesting is that when she goes mad and drowns, Ophelia is the only character in all of Shakespeare’s canon who reportedly drowns and does not miraculously return. Menzer asserts that it is possible that Viola, a character who beginsTwelfth Night nearly drowned, and who has a similar situation to Ophelia, could be Shakespeare’s second go, second take, second life for Ophelia. It was a fascinating lecture, and got the kids all thinking.
Other stuff happening at camp so far?
*Many trips to Split Banana for gelato.
*Campers memorizing their lines in their rooms, in the shade outside, in the laundry room, in the library and in any number of crazy accents.
*Conversations about everything they’re learning.
*Self motivated rehearsals for the upcoming talent show, “What You Will.”
*Music is everywhere. Campers picking things out on a piano or a new uke or just singing while they walk. And the counselors sing lullabies to the campers to put them to sleep.
More about the weekend activities coming soon!
Greg began his class by walking through some elements of music: rhythm and melody, harmony and dynamics, all the components which make it dramatic as its own art and add to the drama of a play. Next the campers analysed some songs in Shakespeare’s canon, suggesting adjectives to describe the different pieces. “Come away, come away death” is pretty hardcore sad, all about unrequited love and wanting to die because of it, whereas “Oh Mistress Mine, Where are you Roaming?", a song concerned with the shortness of life and the sweetness of love, has a gentler melancholy. Before long the campers used these ideas to work together and write their own song of “Under the Greenwood Tree.” Guitars, ukuleles, violin, melodica, Irish drum and beatboxing combined to make a many-layered song, one they could all be proud of. Throughout the process, Greg emphasized the power of “yes.” When people work together creatively, disagreement stops progress, so whenever there were two different ideas on the table, almost every time we found a way to incorporate both ideas into the song, using every person’s creativity to the utmost.
Stage Combat is probably one of the subjects that campers get most excited about learning, and that parents are least excited about their children trying out. In Jeremy West’s class, there was no end of precaution in the process, because safety is so crucial to the performance of any sort of effective combat. The campers learned several different punches and slaps, where each camper’s hands do not even touch their scene partner, but the two work together to “sell” the action and to make it look convincing to the audience. After slaps and punches, they went on to hairpulls and drags, again actions that look terrifying, but are incredible to watch when you know that the actor who looks as though he is the victim is actually the one in control of what’s happening in each scene. Because of an odd number of participants, Rebecca Speas (one of the counselors) was working with one of the campers, and in the scene they were creating, Speas was ripping one camper around by his hair yelling, “Learn your lines! Learn your lines!” to which he frantically yelled in reply, “I will, I promise!” Two minutes later, they laughed and switched roles, this time with the camper yelling, “I’ve learned them. There are no more!”
Other parts of the class included lots of practice in how to fall safely, and how to do a sitting, a standing, and a jumping role, giving all of the campers all the tools they need to act responsibly and safely onstage.
Besides the workshops, and, of course, rehearsals, Dr. Paul Menzer, the director of the MLitt/MFA program in Shakespeare and Performance, came to lecture about Shakespeare and text. He brought in an Arden Complete works of Shakespeare in a large heavy volume, a laptop, a smartphone, and a flashdrive, and made the point that they are all the Complete works of Shakespeare. Each one is a piece of technology used for conveying information, just vessels for their contents. But here is the paradox: despite containing all the same words, the vessel does make a difference. Whatever we might say, the medium changes the message.
Armed with this mindset, Menzer lead us to explore how books and papers and inks and handwriting and printing and the whole culture of text were different then than they are today. How do theses differences change the way we understand Shakespeare, and what might that mean for future generations, when books are no longer the primary means of accessing literature?
Menzer also touched on how much individual characters in the plays say about themselves and the characters around them by their words, by the way they are addressed, or by how they address others. Ophelia is constantly in a lower status than the characters around her. She has no nurse or handmaid, the people she talks with while sane are the Prince, her father, and her older brother, all of whom are telling her what to do. Also interesting is that when she goes mad and drowns, Ophelia is the only character in all of Shakespeare’s canon who reportedly drowns and does not miraculously return. Menzer asserts that it is possible that Viola, a character who beginsTwelfth Night nearly drowned, and who has a similar situation to Ophelia, could be Shakespeare’s second go, second take, second life for Ophelia. It was a fascinating lecture, and got the kids all thinking.
Other stuff happening at camp so far?
*Many trips to Split Banana for gelato.
*Campers memorizing their lines in their rooms, in the shade outside, in the laundry room, in the library and in any number of crazy accents.
*Conversations about everything they’re learning.
*Self motivated rehearsals for the upcoming talent show, “What You Will.”
*Music is everywhere. Campers picking things out on a piano or a new uke or just singing while they walk. And the counselors sing lullabies to the campers to put them to sleep.
More about the weekend activities coming soon!
21 June 2011
First Couple Days of Camp
Dear parents, friends, interested readers, all,
I am writing from the library at Stuart Hall, and while everyone else is hard at work in rehearsal, I thought I would post a first update on the camp and what the last day and a half has held.
For me, the auditions at ASCTC are as exciting as the final performances. Monday morning, these campers come full of potential and energy and dive right into the excitement and the joy of working. Doreen begins with exercises to help get some jitters out, and to remind the campers of the importance of timing and focus, of beginnings and endings, and the place of stillness onstage. All of which skills they put straight to use after learning to sing a round composed by some of the counselors and then divide into groups of three and make their own performances out of that song. Highlights of this section included a camper making up a guitar part to accompany his group, some use of mime, storytelling, unison movement and beatboxing, all of which gives the directors not only a good sense of the special skills of the campers but also shows teamwork, energy, stage presence and creativity.
The next section of the auditions is another sort of devised performance but in much larger groups. In three groups the campers tell the stories of the plays of this session without words, but aided by ten carefully chosen lines from the plays, and a list of required actions. These performances can be so beautiful they take away one’s breath, as Shakespeare’s images become physicalized, and these young people present stars burning in their spheres, the pain of isolation, the delight of young love and the sorrow of endings. Perhaps most impressive was the ten seconds of stillness as all the villagers gathered around the maddened Jailer’s Daughter, who was staring into the distance, “dreaming of another, better world.”
By the time the audition gets to the much anticipated 10 lines of prepared text, the campers were so enthusiastic and so eager to applaud each other’s success that we had to stop them to avoid spilling over into lunch.
The other particularly exciting part of Monday is the tour of Blackfriars Playhouse. After a brief of dense introduction to the whole of the building, including costume shop, trap door, backstage, balcony and then onto the main deal, which is again lead by Doreen, who gets all the kids onstage, all waking up the space and fills them full of questions.
How can you frame yourself in the architecture of this particular stage?
How can you give or command power onstage?
Everything is full of straight lines and angles except for the discovery space, the little curtained entrance right in the middle. How can you use that fluidity?
How can you hide onstage? What makes you take up more than usual?
What about your own voice in the space?
How much sound can you make?
How soft can you be and still be totally clear? It isn’t any easier than being loud, and takes all sorts of energy and focus.
The campers all got a chance onstage to feel themselves in that space, but also were right there in the theater watching their fellow campers, and learning just as much from watching others work, as working themselves. We looked at geometric figures and how, like painters, we can use shapes and lines to create focus and beauty onstage. As Doreen says, “make it art. Don’t make a ‘sort of’ line, make a line!”
Right before dinner the cast lists were posted and that evening the directors ran a “Paraphrase Extravaganza” teaching scansion and meter, rhetoric and how to paraphrase so the campers can begin really digging their teeth into the text.
This morning, Jeremy Febig lectured “On Shakespeares and Centers” which introduced Shakespeare and a smattering of history surrounding the man, as well as the ASC and some of the founding goals of the company. Covering conceptions of Shakespeare as unfamiliar, commonplace, mandatory, unimaginative, fixed up or intimidating, Febig explored some causes of these understandings of Shakespeare and what places like the ASC change these understandings. When produced with skill and imagination, using the staging conditions for which the plays were written, Shakespeare is seen for what he really is, relevant to his own day and ours, in conversation with our world, and with the world in which he wrote the plays. The campers engaged the material and asked lots of questions, shared many ideas of how Shakespeare is and could be taught. One camper said she hadn’t had a bad time learning Shakespeare in her English classes at School, but that it was difficult because they never read anything out loud. In her words, “it’s easier to act Shakespeare than to read it.”
I am writing from the library at Stuart Hall, and while everyone else is hard at work in rehearsal, I thought I would post a first update on the camp and what the last day and a half has held.
For me, the auditions at ASCTC are as exciting as the final performances. Monday morning, these campers come full of potential and energy and dive right into the excitement and the joy of working. Doreen begins with exercises to help get some jitters out, and to remind the campers of the importance of timing and focus, of beginnings and endings, and the place of stillness onstage. All of which skills they put straight to use after learning to sing a round composed by some of the counselors and then divide into groups of three and make their own performances out of that song. Highlights of this section included a camper making up a guitar part to accompany his group, some use of mime, storytelling, unison movement and beatboxing, all of which gives the directors not only a good sense of the special skills of the campers but also shows teamwork, energy, stage presence and creativity.
The next section of the auditions is another sort of devised performance but in much larger groups. In three groups the campers tell the stories of the plays of this session without words, but aided by ten carefully chosen lines from the plays, and a list of required actions. These performances can be so beautiful they take away one’s breath, as Shakespeare’s images become physicalized, and these young people present stars burning in their spheres, the pain of isolation, the delight of young love and the sorrow of endings. Perhaps most impressive was the ten seconds of stillness as all the villagers gathered around the maddened Jailer’s Daughter, who was staring into the distance, “dreaming of another, better world.”
By the time the audition gets to the much anticipated 10 lines of prepared text, the campers were so enthusiastic and so eager to applaud each other’s success that we had to stop them to avoid spilling over into lunch.
The other particularly exciting part of Monday is the tour of Blackfriars Playhouse. After a brief of dense introduction to the whole of the building, including costume shop, trap door, backstage, balcony and then onto the main deal, which is again lead by Doreen, who gets all the kids onstage, all waking up the space and fills them full of questions.
How can you frame yourself in the architecture of this particular stage?
How can you give or command power onstage?
Everything is full of straight lines and angles except for the discovery space, the little curtained entrance right in the middle. How can you use that fluidity?
How can you hide onstage? What makes you take up more than usual?
What about your own voice in the space?
How much sound can you make?
How soft can you be and still be totally clear? It isn’t any easier than being loud, and takes all sorts of energy and focus.
The campers all got a chance onstage to feel themselves in that space, but also were right there in the theater watching their fellow campers, and learning just as much from watching others work, as working themselves. We looked at geometric figures and how, like painters, we can use shapes and lines to create focus and beauty onstage. As Doreen says, “make it art. Don’t make a ‘sort of’ line, make a line!”
Right before dinner the cast lists were posted and that evening the directors ran a “Paraphrase Extravaganza” teaching scansion and meter, rhetoric and how to paraphrase so the campers can begin really digging their teeth into the text.
This morning, Jeremy Febig lectured “On Shakespeares and Centers” which introduced Shakespeare and a smattering of history surrounding the man, as well as the ASC and some of the founding goals of the company. Covering conceptions of Shakespeare as unfamiliar, commonplace, mandatory, unimaginative, fixed up or intimidating, Febig explored some causes of these understandings of Shakespeare and what places like the ASC change these understandings. When produced with skill and imagination, using the staging conditions for which the plays were written, Shakespeare is seen for what he really is, relevant to his own day and ours, in conversation with our world, and with the world in which he wrote the plays. The campers engaged the material and asked lots of questions, shared many ideas of how Shakespeare is and could be taught. One camper said she hadn’t had a bad time learning Shakespeare in her English classes at School, but that it was difficult because they never read anything out loud. In her words, “it’s easier to act Shakespeare than to read it.”
16 June 2011
Intro Post
American Shakespeare Center Theatre Camp 2011
The American Shakespeare Center Theatre Camp offers two summer Shakespeare intensives for ages 13-18 (residential or day camp). In each three-week session campers perform in an hour-long version of a Shakespeare play; participate in performance master classes (stage combat, dance, music, acrobatics); attend academic classes (theatre history, scansion/rhetoric, source study); and visit the Blackfriars Playhouse to watch the professional Resident and Touring Troupe actors rehearse and perform in our summer season of plays.
The shows in the camp's line-up have a Greek theme this year, in that we chose plays that Shakespeare (and Marlowe) set in Greece. In addition to studying Shakespeare and the early modern period, this summer's line-up will allow us to steep ourselves in Grecian manners, masks, and mythology. We’re also excited by the challenge of working on four plays that are new to our repertory: Two Noble Kinsmen, Timon of Athens, Troilus and Cressida, and Dido, Queen of Carthage, will see their premiere performances on the Blackfriars Stage this summer.
Session 1: June 19 – July 10, 2011- The Winter’s Tale follows the tale of King Leontes, whose irrational jealousy leads him to accuse his wife of infidelity with his best friend. After the apparent deaths of his wife and son, Leontes abandons his infant daughter, Perdita, who is taken in and raised by shepherds. Sixteen years later, a series of surprises and reunions force Leontes to re-examine his choices.
- Two Noble Kinsmen is a collaboration between Shakespeare and his successor with the King’s Men, John Fletcher, and is also an adaptation of a tale out of Chaucer’s The Canterbury Tales. Best friends Palamon and Arcite are imprisoned in Athens, and both fall in love with the same woman, the Princess Emilia, who they see from their prison window. Their friendship turns to bitter enmity, and they decide they must break out of prison and settle the rivalry with a public tournament.
- Timon of Athens begins the play as a wealthy and generous gentleman, but when his supposed friends take advantage of his benevolence, eventually driving him to bankruptcy, his attitude changes. Cynical and betrayed, Timon retreats to a cave in the woods and tries to shut out the world which continues to make demands on him.
- Troilus and Cressida takes place towards the end of the Trojan War. The eponymous lovers are separated when the Trojans offer up Cressida as a prisoner of war to the Greeks, placing considerable strain on her relationship with Troilus. Meanwhile, Agamemnon, leader of the Greeks, must try to convince his best warrior, the proud Achilles, to rejoin the fight.
- Dido, Queen of Carthage meets and falls in love with the refugee Trojan prince Aeneas in this play by Shakespeare’s contemporary, Christopher Marlowe. Though her love is fanatical and consuming, Aeneas eventually betrays her, driving her to desperate action.
- A Midsummer Night’s Dream is the ultimate frothy romance, Shakespeare’s classic tale of lovers, fairies, and amateur actors taking to the forest to sort out their tangled lives. The mischievous spirit Puck intervenes with a powerful love potion, while Oberon, the King of the Fairies, plays a trick on his Queen that leads her to a most unorthodox love affair.
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