Photo by Curtis Brown for the Santa Fe Opera, 2021. Wood’s lighting design, which made good use of isolated spots, patterned areas, and when called for, as in the Rude Mechanicals scenes, blessedly straight forward. As a play festival adjudicator once advised: “We can hear the words of the song, you don’t need to act them out.” The mysterious, atmospheric look of the show was superbly complemented by D.
That said, occasionally it was sometimes too bluntly literal in its imagery. Netia’s projection design was a potent presence, making fine use of that hanging circle, with visuals constantly morphing to accent moods and underscore the text. The four lovers looked like high school children in aptly natty uniforms with subtle blue accents.
The pops of color were well-calculated, never more so than with Tisbe’s garish red gown. In a few comic instances, women’s diaphanous trains arrived over long, and were cut and freed from the bolt of fabric in full view. Here the design for attire was rather muted: blacks, whites, browns and grays. Jones’ vision was darker than many a production of this classic title, heavy on colorful, often glittering effects, especially with costuming. A few additional utilitarian pieces like a lounge, ladder, and trunk were carried on and off efficiently as needed. These were fascinating, spare images that imparted thoughtful subtext. Her raised, raked playing space is a platform that contains many visual surprises, facilitated by numerous trap doors, and sparsely dressed with a grand piano, leafy tree, telescope, and a large suspended disc/globe. Netia Jones is the tireless factotum who served with great distinction as (take a deep breath) Director, Set Designer, Costume Designer, and Projection Designer.
The sky’s inevitable darkening took us along with the characters, deeper into the forest and the complicated plot intrigues.īenjamin Britten and Peter Pears’ musical adaptation is based closely on Shakespeare’s popular comic fantasy, and while the Bard’s already lyrical creation did not (for me) cry out to be musicalized, the result is very enjoyable on its own terms. The opening thirty minutes of this woodland tale played out against a resplendent sunset seen through the open-backed stage. If ever there was a nigh perfect match of an opera with idyllic outdoor surroundings, Santa Fe Opera’s A Midsummer Night’s Dream is surely the one.
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