‘Midsummer Night’s Dream’ anything but dull

When I readied myself for "A Midsummer Night's Dream," I was expecting a stodgy production. I knew it was being directed by Fred Adams, the distinguished founder of the 50-year-old festival, so I thought it only natural it would be a distinguished, dull show.

My bad.

Adams' take on Shakespeare's celebration of fantasy and lust has the freshness that seems to belong to the imagination of a young artist.

Adams keeps the story moving effortlessly and lightly.

Shakespeare's tale has four lovers eloping to the forest and encountering unworldly wonders: a man turning into an ass, two in-love but squabbling fairy rulers causing major complications, an imp whose mistake in applying potions nearly destroys the resolution.

Bill Forrester's set -- a multicurtained sea of descending, gossamery leaves with ethereal lighting by Donna Ruzika -- convinces us we're in a place of magic. And with young unearthlings peeping naughtily through the greenery, you can't help but be seduced by goodwill.

It helps that Ben Charles as the mischievous, impish, boy/creature Puck has been made the show's backbone. Charles is an attractive, slightly built young actor whose innocent face encourages angelic thoughts. So, when this angel goes astray, the chaos he causes is all the more bewitching. A master of movement and dynamo energy, he heightens the action whenever he appears.

Kymberly Mellen makes for an elegant, queenly, sexy Hippolyta. Roderick Peoples is a hoot as Peter Quince, a kind, patient man desperate to direct his troupe of hopelessly incompetent performers.

And Max Robinson lends an unusual touch of realism to Nick Bottom, a not-too-bright working-class man eager to ham-up all parts in a royal production. It's amazing how much mileage Robinson gets out of the over-the-top dialogue without sacrificing consistent characterization.

There are times when the fast-paced action runs out of steam, when the comedy feels too choreographed. Adams is so on top of his game here that he doesn't need to push. And the four lovers lack presence, so that their predicament -- the plot's locomotive -- is not as entrenched as it should be.

But at evening's end, I felt as if I'd really seen a midsummer night's dream, a happy one, that helped me better appreciate the joy and folly in being human.