A Midsummer Night's Disco
'The Donkey Show' is one of several current off-Broadway attractions that delight in the sheer joy of theatricality. Diane Paulus and Randy Weiner have reimagined Shakespeare's magical, mystical romantic comedy as a night at a 1970's disco. Put on your dancing shoes, step into Club Oberon (El Flamingo), and get on that groove thing as Shakespeare's story is told through disco funk favorites.
Tytania, portrayed here as a butterfly-breasted disco diva, sings 'I Love the Nightlife' to open the show, just before Helen pleads to Dmitri, 'Don't Leave Me This Way.' Perhaps the greatest reincarnation in this show is that of the rude mechanicals: In Club Oberon, they are Vinnie and Vinnie, two identical wannabe playboys who work 'in the automotive industry.' Their theme song: 'Car Wash.'
It's no surprise that Dmitri and Helen finally pair up, as do Sander and Mia after the fairy dust gets things mixed up but good. Don't expect that this carries anything so moralistic as an anti-drug message, though. The humans are only reunited after Rollerena, the mute, rollerskating Puck, doses them each with an unnamed white pill. A hilarious rendition of 'Never Knew Love Like This Before' ensues.
'The Donkey Show' started at the Pyramid Club, a much smaller space, but it uses its newfound home to its maximum abilities. As the audience grooves on the dance floor, the players jive on stage, in the balcony, and everywhere in between.
From the actor's perspective, this could be at once the most demanding and the most fun production to be a part of. The eight major roles in this show--some male characters and some female, are played well by four actresses. Quick costume changes (Thank David C. Woolard for that) make this intelligent casting decision nearly imperceptible.
Every member of this ensemble cast works to bring you into the mystical world of this play as well as any other version of 'A Midsummer Nights Dream'--and appears to be having the time of her life while doing so. This creates an energy and enthusiasm that will affect you. Either you're a stuffed shirt, or you will be getting down before this show gets up for the down stroke.
Kevin Adams' lighting scheme marries club lighting with stage lighting techniques, producing the perfect effect. The sound (Brett Jarvis) is optimal--systems in clubs usually far outperform those found in theatres, and this is no exception. Actors sing over the voices of the original artist on every tune spun by DJ Hernando Pacheski--an idea which might sound distracting and cheesy, but in truth, like every other aspect of the production, it just works.
This show is nothing short of visionary. Enjoy it.