Pacific Opera Victoria (POV) are translating Shakespeare once again, this time with an operatic interpretation of A Midsummer Night’s Dream.
The well-known comedic tale of crossed lovers invites an entry-level audience to the opera, says director Tom Diamond.
“It’s the kind of opera you can bring your kids to,” says Diamond. “We may be able to truly open the world up to the new opera generation.”
Over his extensive career in theatre, Diamond had several opportunities to direct the classic comedy, but something got in his way every time.
“Originally I thought I would never get to do it,” he says. “Several years ago, a colleague of mine invited me to do A Midsummer Night’s Dream at an American summer festival. I applied for a Canadian grant and I didn’t get it, so I didn’t go.”
But his story doesn’t end there. In 1999, he was hired by the University of Toronto to do the play, but it too didn’t happen.
“That summer I had been in New York and directed a show, which ended up going to Broadway. Obviously I had to take this once-in-a-lifetime opportunity, and had to cancel my performance in Toronto to make my debut on Broadway. So I lost my second opportunity to do A Midsummer Night’s Dream.”
But Diamond finally got a shot at directing the classic two years ago in St. John’s, Newfoundland. Word reached across the country, and, thanks to Diamond’s previous connections directing with POV, he was invited to direct the Shakespearean classic in Victoria.
“It’s almost like I was making up for lost time, from all of the plays I had missed out on,” he says.
With a larger budget than the east-coast performance, the Victoria production is expected to be much more spectacular, he says.
“It’s going to be quite a magical evening in the theatre,” says Diamond.
The story is set deep in a woodland forest inhabited by fairies and royalty—of both the human and mythical realms. The tale of bizarre love spells and folklore spills into the theatre with a captivating backdrop to draw the audience nearer.
“The set is all white, using projected media to create an ever-changing cinematic experience for the audience,” says Diamond. “The paths to the forest are actually the aisles of the theatre, to really bring the audience into the performance, with the singers coming right into the crowd. There’s nothing like live performance. It’s up to the audience to give themselves over to it.”
Diamond brings a lifetime of experience to the stage, from a childhood of acting in Winnipeg to a growing resume as performer and director.
It was his classical music education that spawned his entry into the opera world.
“I found opera a little dull and was told that’s why I should do it—to make it less dull. It was one of the smartest things I have ever done,” he says. “I love my work so much and am so grateful every day. People pay me money to listen to the greatest music in the history of humankind, and I get to associate with those works on a daily basis. It’s so fulfilling and rich to do these works. It’s just such a gift job.”
A Midsummer Night’s Dream
April 14, 16, 22, and 24
$25 and up, Royal Theatre
rmts.bc.ca