Shakespeare in savannah nights

By STEVEN WINDUO
I STUDIED Shakespeare as part of the doctoral coursework in English at the University of Minnesota in the USA. I would have failed that course had I not argued with my professor that in my view Shakespeare’s work is universal as it appeals to the inner beings, souls, and workings of the mind in all humans. Shakespeare works at the strength and frailties of humans, irrespective of social status, class, gender, or race. The universal appeal of Shakespeare is like the English language itself with its universal appeal and spread around the globe.
I am a student of Shakespeare, I argued, because reading Shakespeare has inspired me to write poetry that speaks truth using language that appeals to the reader.
Shakespeare’s plays appeal to generations of humans around the world. As a student I brought with me tools of cultural studies to read Shakespeare’s body of works as texts about social change and challenges in society.
Between 1588 and 1613 it is believed most of Shakespeare’s plays were written and performed. A Midsummer Night’s Dream was written around 1594 and 1596.
Seeing Shakespeare performed on stage is a different set of experience altogether to reading the plays. I have seen two Shakespearean plays performed in Papua New Guinea. The first performance was The Tempest (1611-12) at the Aiyura National High School in 1982. It was the school performance under the directorship of British teacher of English, Christine Sanderson. It was an extraordinary performance for us as students.
The second performance I have seen is the recent staging of A Midsummer Night’s Dream at the Port Moresby Arts Theatre (MAT). My good friend, Bob Stanley, directed the play with the talent cast in the likes of Alyson Joyce as Titania: Queen of the Fairies, Darian Clark as Oberon: King of the Fairies, Andrew Kuliniasi as Puck, Greg Clough as Nick Bottom: A Weaver (and Pyramus), Emily Ryan as Helena, Hannah Allen as Hermia, James Blair as Lysander, Godfree Kaptigau as Demetrius, Jeremy Watson as Theseus: Duke of Athens, Nyleptha Kenny as Hyppolyta: Queen of Amazons, Penelope Murphy as Philostrate: Master of Revels, Fiona Crockford as Egues: Father of Hermia, and other supporting roles played by Shelomi Doyle as Peter Quince: Carpenter, Alphonse Aisi as Francis Flute: Bellows-mender (and Thisby), Glenda Kauva as Tom Snout: Tinker (and Lion), Jordan Kauva as Snig: Joiner (and Wall), Ziggy Yominao as Robin Starveling: Tailer (and Moon), Mariel Verroya as Cobweb (Fairy), Rachel Semi as Mustardseed (Fairy), Elisheba Semi as Peaseblossom (Fairy) and Jordanne Gorogo as Moth (Fairy).
In its 103rd year Moresby Arts Theatre (MAT) opened its curtain to Port Moresby residence Shakespeare’s famous fantasy comedy A Midsummer Night’s Dream to commemorate 400 years since the greatest English language playwright died in 1616.
I accepted the invitation from Bob Stanley to attend the performance of A Midsummer Night’s Dream because it is a special experience to see real life performance of a Shakespeare play. It is special because that’s when the words come life and take you to another place beyond the ordinary. It is a special moment when the lights go off and your attention is on the action on stage, on the actor speaking as if he or she was from another world, a world you only feel privileged to have given by the master of the world stage, Shakespeare.
Imagine the different parts working in harmony to bring into motion an idea that flows in like a whirr and sweeps you off the ground with a mighty scoop. You remain afloat in the play until the curtain closes because “the beauty of his words and the breath of his imagination” is the magic of watching the Shakespearean plays being performed on stage.
I enjoyed watching A Midsummer Night’s Dream being performed because it was magical, witty, playful, and entertaining. The incredible talents in the play gave it an extraordinary element, especially the combination of the young local talents with the international talents. In my view the director has done an excellent job in getting his actors the appropriate roles to play as they all revel in it.
The stage was built to achieve the total effect of a Shakespearean performance. The musical production of the ‘Hugo & The Hobgoblins’, singing/dancing fairies (Rachel, Elisheba, Mariel and Jordanne), songs from Titania (Alyson) and Oberon (Darian), and charmed rhymes from Puck (Andrew), a disturbing limerick from Bottom (Greg) and a wholly troubled performance from the rude Mechanical troupe gave the performance a startling effect that added to the spells of the fairies.
Watching A Midsummer Night’s Dream at the Port Moresby Arts Theatre is a magical experience as I tried to absorb the individual brilliance of the actors.
A Midsummer Night’s Dream will run until 12th November 2016 (tomorrow). I encourage Port Moresby residents to get out for this unique experience in the arts and performance literature. I have enjoyed the various activities that Port Moresby Arts Theatre organizes around the arts and cultural life in the city and have taken my children along sometimes to be part of this modern lifestyle that Papua New Guinea is exposed to.
It was rare opportunity to see the performance on a fair savannah night on Wednesday 02 November 2016. Since I had two tickets I invited my daughter, Cheryl, to come with me to see the once in a lifetime performance of Shakespeare’s A Midsummer Night’s Dream in Port Moresby Arts Theatre. Taking my daughter along to the play was useful for her as a student of language at the University of Papua New Guinea. This was the second time for Cheryl to accompany me to the Port Moresby Arts Theatre, the last time for a poetry recital by Port Moresby based writers. I have also taken my son, Langston, along to the Port Moresby Arts Theatre for other events.
Maybe next time MAT can have Shakespeare’s Julius Caesar or Corillianus performed for all Parliamentarians to see before they enter the house down the road.
Well done, Bob and the team!