Shakespeare in the ruins - of Chichen Itza
Local theatre takes The Bard’s work into the Mayan-themed Assiniboine Park Conservatory
Jared Story

“The course of true love never did run smooth.”

William Shakespeare wrote those words for his comedy, A Midsummer Night’s Dream, but they also apply to Winnipeg theatre company Shakespeare in the Ruins. That’s because SIR’s outdoor renditions have to battle Peg City’s unpredictable weather.

This year SIR has decided to go where the outdoors is indoors, calling the Assiniboine Park Conservatory its new home, meaning ‘To be or not to be?’ is no longer the question.

“SIR has always been searching for interesting places to do theatre,” says Arne MacPherson, artistic director of the production. “It happened that after last summer’s terrible weather. We began looking for an indoor venue — something we had never done before.

“Someone had the brainwave to contact the Conservatory about the possibility of doing theatre there, and it happened that sort of thing was exactly what they were looking to have happen there. It was a wonderfully serendipitous occurrence.”

The Conservatory also suits SIR’s promenade-style theatre, where the audience moves with the cast from site to site.

“Of paramount concern was the ability to continue doing promenade-style theatre,” says Terèsa Lee, SIR general manager. “We needed to maintain the kind of audience-performer intimacy for which SIR is known. It is an amazing venue.

“Though protected from the rain and mosquitoes, you still feel as though you are outdoors, whether in a tropical forest or a lush English garden. SIR will also utilize outdoor spots, so nothing has really changed in that regard.”

SIR assures that any conservatory-to-theatre kinks have been worked out. The company even managed to work with the Conservatory’s current Mayan theme.

“Because of the Conservatory doing this programming of Mayan-South American (theme), Arne decided that we should just set the play in South America,” says Kevin Klassen, who plays the troublemaker Puck in the production. “So we have Theseus as this South American dictator, and Hippolyta is one of peasant women of the latest country he’s overrun, so it’s all kind of set around the ’40s and in South America.

“So, for example, we have a mariachi band for the court, and what we call our ‘fariachi band’ that plays for the fairies.”

In hindsight it seems it couldn’t be more obvious that the Conservatory should house SIR, especially for this production.

“We chose A Midsummer Night’s Dream for our pilot project at the Conservatory because it fits so beautifully,” MacPherson says. “The play takes place in an enchanted forest, and that’s exactly what the Conservatory is.”

For anybody who hasn’t read or seen A Midsummer Night’s Dream, or if it’s just been a long time, here’s the quick summary:

You’ve got Theseus, the Duke of Athens, who is marrying Hippolyta. Theseus’ daughter, Hermia, refuses to marry Demetrius, the man chosen for her, because she’s in love with this fellow named Lysander. She runs off into the forest with Lysander to elope. Hermia’s friend Helena gets word of this and tells Demetrius, whom she is in love with, even though he loves Hermia.

Basically they all go into the forest and some pesky fairies flip everything upside down, making all the wrong people love each other. But in atypical fashion, things don’t end in tragedy and everybody ends up happy.

Sound complicated? Don’t worry, you’ll get it.

“I think it’s just incredible the way Shakespeare fits everything together,” Klassen says. “They are very distinct original characters from distinct worlds, and he just puts them all together somehow in a way that makes sense.”

This is actually not the first time SIR has presented this play. The 14-year-old company performed A Midsummer Night’s Dream in its second season, but for anyone who has been following SIR from the beginning, don’t expect a repeat. Expect something better.

“Given that it is a different site, a different director, and a mostly completely different cast, it promises to be a totally different experience. As well, SIR has come a long way in our handling of the text, making it clear and alive,” MacPherson says.

A major focus this year, as in the past, is SIR’s commitment to exposing students to Shakespeare. For many students the problem with the Bard’s plays is that they’re just words in a book. For students, seeing is believing.

“The language is a huge psychological barrier for students,” MacPherson says. “The language needs to be spoken out loud to come to life. The best way to get to know Shakespeare’s plays is by seeing them or acting them out.

“They were written to be performed, not read silently. SIR’s school programs are geared toward helping break down some of the resistance kids have to Shakespeare.”

Shakespeare’s plays are still mandatory school reading, always being made into Hollywood blockbusters and referenced more than ‘that episode of The Simpsons’ — so what keeps these plays written by a man who is 390 years dead so relevant?

“I think the No. 1 thing is his understanding of how people think and behave is better than just about anybody else’s,” Klassen says. “You can always get caught up in the stories.

“Some people say he’s short on plot and some of his plays are really simple, and some don’t even make sense, but he’s so accurate in the way that people deal with each other, so you’re always able to relate to it. And of course with his language and poetry and everything, once you get your ear attuned to it, it’s the best thing there is.”