Oberlin Opera Theater’s production of Benjamin Britten’s A Midsummer Night’s Dream is a must-see. It features a highly energized and engaging cast that deftly ventures through Shakespeare’s classic story, now supercharged by the music of Britten.

    This production is saturated with excellent stylizations from various members of the production, penetrating the diverse levels of the piece.

The vocal nuances chosen for the parts add to this stylization. Queen Tytania’s acrobatics indicate a sort of “Royal Affect” that only a queen could muster. The casting of Oberon as a countertenor is another gentle reminder of the otherworldliness he is part of, as well as a further nod to traditional opera when the countertenor was the one expected to set off the fireworks. Meanwhile, the lovers sing with special attention to words, adding shades of realism that help differentiate them from the fairy king and queen.

Similarly, members of the troupe are given license to exploit their voices for fitting comedic effect, such as with Conservatory senior Joseph Barron’s gorgeously overzealous Bottom and Conservatory senior Elias Traverse’s Tom Snout. The character Puck is also notable, as he is the only speaking role in the work.

According to double degree fifth year Amy O’Callaghan, who inhabits the role of the mischievous go-between, “Puck doesn’t really fit into either the fairy world or the human world.” O’Callaghan explains: “I talked a bit with Mr. Field [the stage director of the production] about why my character was the only one with spoken lines. [Puck is] referred to as a ‘hob-goblin,’ something distinctly magical but not really a fairy.”

Much of Puck’s character also came from his inherent physicality and gender fluidity. “I basically got to run around acting like I was 13 years old, and because I wasn’t singing I had more leeway physically to jump around,” said O’Callaghan.

The local children’s choir, the Oberlin Choristers, adds an eerie, untouchable quality that perfectly complements Conservatory junior Nathan Medley’s Oberon. The excellent local young performers added to great depth to Oberlin’s production.

Oberon himself produces much of the energy; he hatches a plan that traces through the work. Yet, Oberon is as friendless as Puck is transitory, plotting to himself and observing ongoing action from on high. Medley remarked that there is even a sense of loneliness coming from portraying him, because the solo scenes kept him either on stage by himself, or waiting in the wings, watching the other cast members work.

“I guess it’s what it’s like to be royalty,” said Medley. “You have people around you, but they’re never close.”

One striking feature of the work is the inclusion of a countertenor role, a voice part infrequently found in contemporary opera, yet it is used here for a major solo character. College senior Christopher Soltys could not help but question why Britten chose to have Oberon portrayed by a high voice: “Why not a big, wide bass? One that seems like he can control Tytania.”

While Soltys makes an interesting point, many opportunities and interpretations become present because of this choice. By having a voice that sticks out clearly from the accepted cultural idea of opera singing, the color palette deepens. For Britten, this seems to be a desired effect. Dramatically too, the lack of continuous tenor roars and bass grunts gives Oberon a different sort of characterization, instead a cooler, collected, plotting sort of masculinity. Interestingly, Medley opted to pursue countertenor this year because of this opera. Previously “just” a baritone, he saw this as an opportunity to try out something different.

Medley praised stage director and Associate Professor of Opera Theater Jonathon Field for his ability to communicate his ideas to the cast: “Jonathon is great because he depicts what he wants. Even when the idea is discarded, it adds to our roles.”

Field’s vision for the production itself is embedded with challenges given to the performers that, as Field says, were “rehearsed so much that each time they do it seems like the first time.” These smaller additions helped create an engaging physical presence, supported by the way Oberon walks and interacts with objects around him, how Puck considers giving Hermia some of the magic potion as well, Lysander’s sword-wielding non-sequitor and Flute and Snout’s funny homoerotic suggestions.

Field also found use for a childhood memory in the staging: when Bottom becomes a donkey and inspects his ears, it is similar to the way Field’s British grandmother acted out the moment for him as a boy. He explains, “Every Brit is raised on Midsummer Night’s Dream and knows it inside out. This staging goes back generations.”

Yet, despite his input on the opera, Field was quick to point out that another important element in developing the production was the cooperation between him and conductor and Associate Professor of Conducting Bridget Michaele Reischl. When asked what helped the two of them work together he said, “I think Bridget likes the words, and I like the music.”

Much like my fortune cookie said when I ate lunch while interviewing Professor Field, if you decide to take the time to see A Midsummer Night’s Dream this weekend, “You will be compelled to manifest self-transformation.”