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Myth #1: Ballet is boring. Here is the plot of A Midsummer Night's Dream: Hermia loves Lysander. Lysander loves Hermia. Demetrius loves Hermia. Helena loves Demetrius. Hermia's dad, Egeus, wants Hermia to marry Demetrius. Hermia and Lysander flee. Oberon, who is fighting with Titania for a child, orders Puck to use a magic flower to make Demetrius love Helena...

Author: By Kelly T. Yee, | Title: Ballet for Beginners: The Shocking Truth (It Can Be Fun) | 2/20/1992 | See Source »

...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 »

Oberon's female counterpart Titania is played by Jenny Davidson, whose shock of green hair adds an ethereal touch to her competent portrayal of the fairy queen...

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

...knockabout buffoonery seems almost made for MTV. The scene of two young men playing mixed doubles with their interchangeable girlfriends would not seem strange to the kids in Bret Easton Ellis novels, who fall into bed 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...

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

...transplanting does no violence to Shakespeare's intentions, although some of the erratically varying performances do. Among the high spots: Lumbly's liltingly Caribbean and muscular Oberon and Lorraine Toussaint's Titania, his equal in dignity and a nonpareil in languorous erotic indulgence. Bottom (Abraham) and his pals, the "rude mechanicals," are for once believable working men, unpatronizingly evoked if, alas, therefore a little less funny than usual. This Midsummer will not stand in memory with Peter Brook's 1971 landmark staging or Liviu Ciulei's 1985 war of the sexes. But it is a vibrant start to a welcome...

Author: /time Magazine | Title: Theater: All's Well That Begins Well | 1/25/1988 | See Source »

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