Behind Closed Curtains: Inside A midsummer night’s production

Photo By Elijah Camacho

Timothy Grassley

The Advocate

Imagine the thunder of applause echoing through a packed theater, the stage bathed in golden light and the pulse of live piano filling the air. That’s exactly what greeted me at Mt. Hood Community College’s new production of “A Midsummer Night’s Dream”—a performance so bold and ambitious I left the theater breathless. 

A twist of fate landed me face-to-face with Mt. Hood Community College theater director Zach Hartley on Wednesday, an opportunity that quickly revealed the hidden heartbeat of this production. As Hartley spoke, it became clear just how intense and demanding the process has been for the theater’s majors and cast: two relentless weeks of rehearsal, only two days off and days that stretch from Saturday through Thursday. 

Imagine keeping that pace while juggling classes, homework and part-time jobs. No wonder, as Hartley admits, “There are days when people are tired, and when people are tired, tempers can flare sometimes.” But he’s just as quick to emphasize the electric atmosphere. This week is both “exciting and exhausting” in equal measure, a crucible that forges unforgettable performances. 

This production stands apart—unlike any show Mt. Hood has staged before. Picture a blend of aerial choreography and two grand pianos playing Mendelssohn’s score live on stage, combining for a visual and musical spectacle that pushes students and faculty to their creative limits. 

When I asked Hartley about this ambitious setup, he admitted, “I really didn’t know much about it before we started.” Looking back, he wishes he could have spent more rehearsal time directly with the aerial choreographer rather than working in parallel. “We’ve found, as we’ve gotten into tech, that some of the aerial work takes more time than we expected, and so it’s been a little bit of a scramble … making minor adjustments so the play runs smoothly without long pauses.” 

Even a brief pause—like a 45-second swap of the aerial apparatus—can break the spell for an audience. Ironing out these kinks in rehearsal is crucial. Even when transitions are timed to the second, there’s still that awkward moment of shifting gears. The cast and crew are constantly chasing that perfect balance: seamless movement and set changes that keep the audience’s eyes on the stage. 

Narrowing set changes, stressed and compressed days, and the fine-tuning of equipment and blocking have produced a gem of a performance—and we haven’t even mentioned the best part. The two grand pianos on stage. 

In a way, they are characters within the world of “Midsummer,” acting as onlookers and mood setters that blur the lines between pit and cast, turning another Shakespeare play into a live, visible, upbeat and playful theatrical experience. 

“For a community college production, the sight of two grand pianos on stage is a statement all its own,” Hartley says. They carry Mendelssohn’s score live throughout the night, turning the musicians into visible collaborators rather than invisible accompaniment. They turn heads and amplify the senses. “Our musicians sound freaking incredible. The actors are working with it really well. And on top of that, we have moments where some of the actors are actually interacting with the piano players.” 

Anthony Felipe, Leo Decklour, Logan Ouble, Chaz Guinan, Kieran McCarn, Larry Menard, Karis Zollenr, Aberham Balthazer, Gracie Albrecht, Sharon Bierman, Esa Overturf