Chicago has enjoyed a renaissance of Shakespeare-inspired theatre productions in the
past couple of years. The established Shakespeare venues ought to take note of the
resourceful and innovative adaptations of the Bard’s plays by companies like Idle Muse
and the Imposters Theatre.
Opening just in time for blossoming, randy springtime is the new musical “Helena and
Hermia in The Enamored Odyssey,” by the Imposters Theatre Company at the Den
Theatre. Frankly, I think “Helena and Hermia” works better as a title, but don’t let the
longer name -- which sounds a bit like a porn film -- and the nearly three hour run time
deter you, because the production flits along as swiftly as one of Oberon and Titania’s
fairies.
One of the marvelous and astonishing things about this gleefully creative ensemble is
the hefty contribution each member of the company offers to the production.
Imposter Theatre Artistic Director Stefan Roseen directs and serves as scenic designer
and painter. The action unfolds in a birch forest with minimal set pieces, all the better to
accommodate the whirlwind pace of the evening. Company Member Anna Roemer (a
winsome Helena) also serves as choreographer, a large endeavor given the fact that
much of the show is danced or employs stylized movement. (Fans of “Natasha, Pierre
and the Great Comet of 1812,” a musical treatment of Tolstoy’s “War and Peace” will
enjoy this witty, movement forward treatment of “A Midsummer Night’s Dream.”)
Roemer’s choreography ranges from courtship dances, to duels and pirate shanties, to
comically stylized traipsing through the forest. The movement in combination with the
production’s original score is the foundation undergirding the plot and character
development.
The original book, music, and lyrics by Company Member Dominick Alesia, is
thoroughly charming. His score showcases the musical and comedic range of the
characters as well as the many colors of love. His lyrics offer witty interrogations of
Shakespeare by his own characters and cleverly balances Elizabethan decorum with
the colloquial and blunt asides of its relatable characters.
“Helena and Hermia” is refreshing in the way it reframes Midsummer to focus on the
friendship of its two heroines. In Shakespeare’s original, their jealous catfight over
Demetrius and Lysander often serves as the play’s comic highpoint. But “Helena and
Hermia” has higher aims than leering comedy at the expense of these women. It asks
us to consider the true nature and longevity of their friendship and forces the characters
to consider whether they are resilient enough to recover after one evening’s worth of
misfired spells and broken hearts.
The show has fun referencing other well-known Shakespeare plays, and thus Helena
and Hermia’s friendship gets a big assist from Juliet Capulet no less.
Each member of the ensemble is fully dialed in to their characters’ motives and delivers
their parts with relish. Highlights include Company Member Ethan Gasbarro (as
Hermia’s love Lysander) and Zachary Riley (as Demetrius the object of Helena’s love),
who shift from courtly wooing of Hermia to hot pursuit of Helena. An extra special
mention goes to the roguish Puck (played by Imposter’s Theatre’s Executive Director
Rachel Borgo), for conjuring a fresh and devilish interpretation of Oberon’s chief errand
runner. Imagine a pixie racoon with a country Irish accent and a macabre sense of
humor. Puck’s intense focus on the humans blundering through the forest makes her
expressions flicker and shift like shadows from a candle, making it hard to take your
eyes off her.
The score calls for virtuosic singing that is operatic at times. Here too the ensemble
delivers. Company Member Gabriel Reitemeier is perfectly cast in the role of the
Duke/Orsino. He has a rich and expressive tenor, perfect for the aristocratic Duke and
the commanding King of the fairies. His playful vocal flourishes express the emotional
subtext underneath his ‘I’ve got this all under control’ pronouncements. Tessa Marie
Hoffman makes a regal Duchess and emotive Titania, her powerful soprano voice
capturing sorrow, comic lust and fiery anger. Shannon McEldowney’s Hermia is a
golden-throated hummingbird, graceful and fierce, and she effortlessly nails her role as
the plucky, yet modest young lover who will have her Lysander -- patriarchal father be
damned.
The mechanicals are workhorses throughout, practically blowing the roof off the Crosby
Theater stage with their enthusiastic energy, especially when it comes to presenting the
tragical tale of Thisbe and Pyramus. They also play fairies, soldiers and other assorted
roles keeping the plotlines moving at a forward tilt.
I have to say a word about Company Member Toria Olivier’s costume designs, where
gorgeous attention to detail has been made, especially in the fairy realm. Puck’s
postmodern gossamer black goth garb replete with elfin-sized antlers and black talons
are delicious. And there ought to be an art exhibit that includes Oberon and Titania’s
shoulder pads and crowns, which sprout green mosses, turkey tail fungi and
mushrooms.
All in all, the musical “Helen and Hermia” deserves to become a staple of summer
outdoor theater. One can only hope the mighty talents of this modest company are
noticed by patrons and producers in a fashion that will allow them to unleash this vibrant
show in a larger venue.
The Imposter Theatre Company’s “Helen and Hermia in The Enamored Odyssey” is
playing at The Den Theatre’s Crosby Theater through April 12.
For tickets go to https://thedentheatre.com/performances/2025/3/28/helena-hermia-in-
the-enamored-odyssey-the-den-theatre-comedy-club.
Photo by Sam Bessler
For more reviews go to https://www.theatreinchicago.com
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