A Midsummer Night’s Dream at Tulane’s Lupin Theater through July 27
A mere two years after The NOLA Project
Gave us a most magical Dream in City Park,
To the Tulane Shakespeare Festival’s current Dream, I must object
Not just because its stage, when Fairies dwell upon it, is often too, too dark,
But, rather, because it tells us nothing terribly new,
Its cast members unable to reveal their characters’ psyches very deep.
Fortunately, at a fleet running time of hours two,
Graham Burk’s otherwise quotidian direction kept me from going to sleep.
At least all lines are spoken intelligently, but still,
Instead of 4 toga-clad young lovers, dress them in jeans and give them a frisbee
And celebrate the timelessness of this comedy by the great Will.
To give credit, tho, where it is due, when at last we get to Pyramus and Thisbe
The Rude Mechanicals put on a most touching show
Filled with insight and depth of emotion that, finally, left me all aglow.
(l.-r.) Robinson J. Cyprian, Robert Mitchell, Ian Hoch, Alexandria Miles, and John Jabaley in A Midsummer Night’s Dream
[For tickets and more information, go to https://neworleansshakespeare.org/products/a-midsummer-nights-dream]
Six Frenchmen at JAMNOLA
I don’t want to say too much about Six Frenchmen, the new immersive extravaganza at JAMNOLA, because, to do so, would risk spoiling the wild experience it offers.
So let me quote its press release to give you some idea of what it’s about:
“Inspired by the 1768 Louisiana Rebellion, Six Frenchmen invites its audience, divided into three equal groups, to follow cast members as they move room to room, uncovering a reimagining of the Crescent City’s past.”
And even that I had to massage a little. But it’s accurate. Tho it only hints at what lies in store for ticket holders.
(For those not familiar with JAMNOLA–it was my first time there–its new permanent location on Frenchmen Street features 29 exhibits inspired by the art, music, food, and theatrics of New Orleans created by over 100 local artists and collaborators.)
So indulge me if I’m purposefully vague. And maybe a little random, like the show.
You’ll be told about what you can and cannot take (photos, okay; videos, not) and encouraged to post on social media. A lot. Repeatedly.
It’s all a little disorganized. Even another audience member made the same observation. So, later, did one of the actors. In character, I think.
There’s a New Orleans History quiz. I got one of the answers right. One of the tour guides, Bernie, who was substituting for a cast member who was out the night I saw it, said “The show may not be entertaining, but it will be educational.” Yeah, kinda sorta.
The JAMNOLA installations are very cool, very creative, truly impressive, and representative of the wide assortment of talents that can be found here. And you can touch them. And take lots of photos.
An alligator has an open mouth in JAMNOLA’s Swampland exhibit
Bernie also said, “If you scan the QR codes [throughout JAMNOLA], it can give you lots more info than I can.” Which made me wonder how much care went into putting this show together, even if he was a last minute substitute. But at least he was honest. And possibly sly.
Turns out, the eponymous six Frenchmen were part of a revolution and died. At least that’s what we’re told during the show. I didn’t know anything about the 1768 Louisiana Rebellion till I reread the press release. You may want to google it before you see the show. Or not.
There are lots of opportunities to get drinks. Lots. Bars are scattered throughout JAMNOLA and you don’t have to wait till intermission to order a cocktail.
It’s not always clear what’s going on or who to follow. Call it chaos in an arty setting. Or Alice-in-Wonderland-y.
About halfway through, Caresse and the Cuckoo Revue perform a drag/dressed up version of Irma Thomas’ 1977 hit You Can Have My Husband (But Don’t Mess With My Man). Caresse seems to be part of Six Frenchmen; those of the Cuckoo Revue do not. I was truly impressed by how well-coordinated these random audience members were for the little rehearsal time they had. And how Caresse got them to don wigs and make-up.
There’s a second line just before intermission. Of course. After all, this is New Orleans.
Audience members at Six Frenchmen?
After intermission things come into better focus in the script written by the cast—Joey Algier, Jake Bartush, Vassiliki Ellwood, Owen Ever, Rashif Holmes, Matthew Martinez, Jason Derek North, Tara Squitiro, Glenn Young and Janet Young—and co-authored by Vaughn Trudeau and Stephen Grush, who also co-directed with North.
That’s all the detail I’m gonna give away. Except that the ending is powerful.
In all, Six Frenchmen is ambitious and admirable, but it needs to be better shaped and polished (and, hopefully, trimmed a bit, especially the overlong first act) if it is to enjoy a longer run which, I suspect, is the intention of its producers and creative team.
Vive la révolution!
