A midsummer night’s dreamMhcc’s theatre department revs up for their spring term production

TimothyGrassley

The Advocate

MHCC’s upcoming theatrical performance of A Midsummer Night’s Dream is shaping up to be one of the most exciting productions for theater majors on campus. The show intrigued us so much that The Advocate scheduled interviews with several of the cast members and directors. As we dug deeper, conversation after conversation made it clear that this production is more than just another Shakespearean masterpiece — it’s a journey into what defines love, relationships and the complexity of human feeling.

Bringing heart and whiplash to the chaotic Nick Bottom

For actor Chaz Guinan, who plays Nick Bottom in A Midsummer Night’s Dream, the role is all about big swings and surprise impact.

“With the way Bottom is, he is a big person. He does big things, big moves,” Guinan says. He imagines Bottom like a donkey at a petting zoo: you think he’s safe and cuddly, “and then the donkey kicks you right in the face.” That mix of approachability and sudden chaos shapes his timing and physicality onstage.

Guinan leans into contrast — “go for the small, then go for the big” — comparing his performance to a “spicy curry” that seems mild until the heat hits all at once. For him, Bottom “commands the room, but the room does not want to be commanded,” a self‑important fool who “makes the wackiest and weirdest choices.” It’s a role he relishes: “Bottom is by far a role that I am having so much fun playing.” His promise to the audience is simple: “Sit down and be amazed … there shall be no one made asses in this play, except for yours truly.”

A big hearted mischief-maker channeling joy and compassion 

Sidra Cohen-Mallon, who is portraying Puck, brings a distinctive interpretation to the beloved character by channeling both mischief and gentleness. While keeping Puck’s chaotic nature, Sidra adds what they describe as a more genuine and pure energy.

“As an actor, I love storytelling; it’s my favorite thing to do,” Sidra says, calling Puck a dream role for anyone with a passion for theater. Their thoughtful approach highlights the character’s duality: “Puck can easily be written off as the villain … but at the end of the day, he does not wish anyone harm. I cannot possibly play him malicious — I’m always looking for his gentleness and joy.”

With an eye toward both the cast and the audience, Sidra aims to make Puck “a big-hearted mischief-maker” whose onstage escapades offer fun, escape and comfort. “Even though he’s making mischief and pulling pranks … everything gets reset, and as it should be, which is beautiful.” Through Sidra’s performance, Puck becomes not just a trickster but a warm and whimsical force inviting everyone to embrace the unpredictable magic of theater.

Shaping a world of magic, humor and humanity

As the production stage manager for A Midsummer Night’s Dream, Kama Dieu is the organizational heart of the show. Now in her second year at MHCC, she channels her passion for theater into meticulous paperwork, running rehearsals, calling cues and ensuring every detail aligns on and off stage. Far more than a behind-the-scenes presence, she’s the linchpin who keeps creative chaos in check so actors and directors can focus on their artistry.

Kama’s journey into stage management at MHCC has deepened her appreciation for teamwork and the collaborative magic of theater. Known for her reliability, adaptability and positive spirit, she thrives under pressure — whether wrangling scene changes or supporting the cast during crunch time — and her dedication helps ensure every performance is seamless, memorable and truly a team effort.

Describing her role, Kama says she is “the one who helps call the cues and writes the blocking,” adding: “I’m here for every rehearsal, writing on blocking, all other notes and setting out reports. And I’m kind of like the paperwork side of the creative production team, which is important, as well as calling cues and other stuff.”

For Kama, the job goes beyond logistics. “Record-keeping is what keeps the work go around … my job is to make sure they can just focus on the creative process as I jot down the important notes of this director’s vision, or where this is happening with the aerial choreography, and how the music is going to be worked.”