Midsummer’s Progression

Tim Grassley

The Advocate

Mt. Hood’s theater department isn’t just staging a play – A Midsummer Night’s Dream is a showcase of both talent and tenacity. How do they start with a fresh idea and end up rolling audiences in the aisles? Let’s take a look behind the closed curtains—and into the backstage shenanigans. 

Jan. 15 

We began our coverage on Jan. 15, when we were asked to interview three actors starring in A Midsummer Night’s Dream. We had a blast meeting them. From discussing their ambitions and hopes for the production to hearing what path they envisioned for the play, none of us could have predicted how things would turn out. 

Chaz introduced the role of Nick Bottom to the audience with gripping humor, telling us in our interview that “Bottom commands the room, but the room does not want to be commanded.” Even then, it was clear this character was a self-important fool making wacky, unexpected choices. Sidra’s portrayal of Puck left audiences on their feet until the final moments of opening night.

She captured the “big-hearted mischief maker” energy the role demands, offering a sense of fun and escape. Her performance showed how blending parts of yourself into a role can make it shine. 

The show also wouldn’t have been possible without the stage manager, Kama, who enthusiastically shared her start in theater. Managing and controlling the performance from behind the scenes is no easy task. When asked about her responsibilities, she told us, “Naturally, I’m the one who helps call the cues and writes the blocking. I’m kind of like the paperwork side of the creative production team, which is important, as well as calling cues and other stuff.” She also noted she was “there for every rehearsal.” A key player, indeed. 

Feb. 5 

We next introduced readers to the technical side of the show: the aerial work and the equipment used throughout the production. 

Our interviewee—someone we had briefly spoken with during earlier reporting—was Andee Fischer, the aerial instructor and choreographer. She taught the actors both safety and movement on the aerial apparatuses. 

Three apparatuses are used in the production: silks, a lyra, and slings (also known as aerial hammocks). These devices can hold a considerable amount of weight, allowing anyone to participate in aerial dance. With high-flying choreography comes high stakes—safety is the top priority. 

A typical rehearsal included positioning and setting safety gear, with actors moving 8-inch-deep, 6-by-6-foot crash pads for blocking and dance practice. Harnesses used certified climbing-grade hardware with auto-lock carabiners rated for 25 kN (a unit of force equal to 25,000 Newtons, used to measure the breaking strength of climbing equipment and safety anchors), supporting loads between 5,000 and 15,000 pounds. Riveting, indeed. 

Feb. 18 

During the final week before opening night, we met again with MHCC Theater Director Zach Hartley, who had been helping The Advocate coordinate interviews and schedule visits to view the unfinished set. For what felt like a particularly exclusive look behind the scenes, I knew I needed to bring my A-game. 

When asked how he would have fine-tuned the performance or scheduling, his answer was surprising. Students were so devoted to the project that some were getting only four to five hours of sleep while balancing classwork, jobs and personal commitments. I was speechless. What we didn’t mention in that week’s story was how hard these theater majors were working to survive “Hell Week.” 

I’ll let Zach describe it: “So it’s exhausting. And there are days where, you know, people are tired, and when people are tired, their tempers can flare sometimes. Some issues make us kind of panic. It makes us have to rush to put out some fires essentially. And when you’re rushing for something, especially for something like this that you’ve worked so hard on for months—or, in my case, almost a year at this point—a little thing going wrong can feel big. So this last week, it’s like you’ve got to really kind of maintain your peace and calm and recognize that all the work that you’ve done over the last four or seven weeks is ready. You know that we’ve done everything we need to do, and we’re prepared for this.” 

Exhausting, nerve-racking, and tense—yet also full of determination. When asked if anyone stood out among the students, Zach gave a wholesome answer: “All of them were masters of their own style, honing their skills as an artist and an actor. They bring something to this art form that I truly couldn’t find anywhere else.” 

Feb. 20 

Opening night arrived on Feb. 20. I called out sick from work to see the performance firsthand. In that week’s paper, I described the moment like this: 

“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 electrifying new production of A Midsummer Night’s Dream—a performance so bold and ambitious.” 

I felt alive—like I had peered into a looking glass overflowing with insight and artistry. I tried desperately to bring my peers with me, but in the rush of the moment, I forgot to plan ahead. That left me alone on my opening‑night adventure. 

In the end, A Midsummer Night’s Dream was more than a production—it was a testament to collaboration, grit and the quiet magic that happens when students pour their hearts into their craft. From the actors suspended midair to the crew members running on sheer determination, every person involved left a distinct fingerprint on the final performance.

Watching it all unfold reminded me why theater matters: because for a few hours, a community of strangers becomes a chorus of shared wonder. And for the students who built this world from the ground up, their triumph on opening night was nothing short of transformative.