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...forest primeval--and with a little help from magic dispersed by the minions of Oberon, king of the fairies--these relationships grow more complicated, and true love turns false through mistaken spells. Add in a band of workers rehearsing a play about Pyramus and Thisbe; Titania, the queen of the fairies and the butt of Oberon's a cruel trick; and some cacophony from "Love Juice," and the play is on its merry...

Author: By Ross G. Forman, | Title: A Mid-afternoon Dream at Adams | 5/4/1990 | See Source »

Among those playing the workers who are for the first time practicing Pyramus and Thisbe, Lee Thomson is a charming and domineering Nick Bottom. He effectively overacts when he assumes the role of Pyramus...

Author: By Ross G. Forman, | Title: A Mid-afternoon Dream at Adams | 5/4/1990 | See Source »

...with anyone at all, scarcely stopping to ascertain identity, or even sex. Titania's sudden passion for ass-headed Bottom seems almost natural in the age of Ecstasy, when someone who takes a tab of MDMA is liable to open her heart to the first person she sees. And Pyramus and Thisbe, wooing each other through a chink in a wall, might almost be model paramours -- paragons, in fact -- for the "safe sex" generation...

Author: /time Magazine | Title: Essay: A Midsummer Night's Dream: the Sequel | 8/7/1989 | See Source »

Lapine is a skillful sight gagster. His staging of the Pyramus and Thisbe play-within-the-play is a little masterpiece of smartly timed slapstick. And having his quartet of young lovers lose bits and pieces of their costumes in their befuddled woodland wanderings is an apt comic comment on the larger losses of sexually addled adolescence. Among them, Christine Baranski turns Helena into that most endearing of creatures, a beautiful woman humanized by near terminal klutziness...

Author: /time Magazine | Title: Theater: Magic Act | 8/30/1982 | See Source »

...least marvel about this Dream is Epstein's ability to draw humor from the play even as he is interpreting it in an essentially solemn way. We expect the rustics and their "Pyramus and Thisbe" to be a comic staple, and certainly John Bottoms's eponymous, stage-struck Bottom, Jeremy Geidt's paternal, befuddled Quince, Max Wright's scallion-chomping Flute and their cohorts dig up laughs you'd only guessed at, reading the play. But the young lovers, too, keep their scenes from bogging down into indistinguishable, interchangeable laments: Sloan's strong-willed and-armed Helena gets a hapless...

Author: By Scott A. Rosenberg, | Title: Out of Discord, Concord | 3/31/1980 | See Source »

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