#ShakespearesPlaylist: A Midsummer Night's Dream

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This is part of the #ShakespearesPlaylist series! You can read all of those posts here!

A scene from the 1999 film version of A Midsummer Night’s Dream, featuring Michelle Pfeiffer as Titania and Kevin Kline as Nick Bottom.

A scene from the 1999 film version of A Midsummer Night’s Dream, featuring Michelle Pfeiffer as Titania and Kevin Kline as Nick Bottom.

So I LOVE finding songs to fit the mood of #Shakespeare plays. Basically every time I hear a song I love on the radio, I think about how I could fit it into a production. I can’t help it. My brain just does that, which is funny, because I’ve only directed one production (my own one-act) and questioned myself and my abilities the entire time, so I don’t necessarily see myself directing anything else any time soon, but I just like to dream about the music anyway.

I’ve decided to play with this habit of mine more and make full-fledged Spotify and Youtube playlists for each play by Shakespeare, under the umbrella name and hashtag #ShakespearesPlaylist .

This week we’re looking at A Midsummer Night’s Dream, one of the most loved and commonly performed Shakespeare plays! And why not? It has fairies, magic, love, mistaken love, hilariously inept actors, and general shenanigans galore; it’s considered one of the most accessible and kid-friendly of the bard’s works. It’s also Shakespeare’s second shortest play at 16,511 words (the actual shortest is Comedy of Errors, which is 14,701 words), which makes it a great choice for community productions and films. You don’t have to make as many cuts to it as you would to say, Hamlet (30,557! There’s a reason it’s rarely performed in full without cuts.), to fit it into a reasonable period of time for a modern audience.

Quick Wikipedia Summary: Midsummer has three main interwoven plots and one plot which serves as a frame story for all the others. The frame story is that the Duke Theseus of Athens and Hippolyta, the Queen of Amazons, are getting married, and everyone’s coming together for the celebration.

The first plot focuses on the lovers- Hermia is in love with Lysander, but her father Egeus wants her to wed Demetrius (to the extent that he threatens to kill her if she doesn’t do what he wants!). Hermia arranges to run away with Lysander and tells her best friend Helena about it, swearing her to secrecy. Helena pines after her former lover Demetrius, who broke up with her to chase after Hermia, and somehow thinks that telling Demetrius about Hermia and Lysander’s plans will endear him to her.

The second plot looks to the fairy king Oberon and fairy queen Titania, who are currently quarreling, as Titania refuses to give a child in her care to Oberon (the child’s mother was one of her worshippers). Oberon summons fairy Puck (also known as Robin Goodfellow) to fetch a flower with magical properties - when applied to a person’s eyes during sleep, that person, upon waking, falls in love with the first living thing they see. Oberon intends to use this to charm Titania so he can steal the child from her while she’s obsessed with some other being.

The third plot focuses on a group of common Athenians (“Rude Mechanicals”) who are putting together a comically inept production of Pyramus and Thisbe to perform at the Duke’s wedding. While rehearsing in the forest, Puck plays a trick on Bottom, the most arrogant member of the troupe, and gives him the head of a donkey, which frightens all his friends away.

These plots all become quickly interwoven. Oberon applies the love flower to Titania’s eyes while she is sleeping so that he can take away the child while she’s distracted; the first thing she sees upon waking is the donkey-headed Bottom. Shenanigans ensue! In addition, Oberon, after seeing Demetrius spurn the pathetic Helena, orders Puck to apply the love flower to Demetrius’s eyes. Puck mistakenly initially gives the flower to Lysander instead, who spies Helena upon waking and professes his undying love for her, abandoning Hermia in the woods in the process. Puck tries to amend this by also giving the flower to Demetrius, but all this does is result in Demetrius and Lysander fighting over Helena, who is convinced that both of them are making fun of her. Hermia flies into a rage over the whole situation and attacks Helena. Further shenanigans ensue!

In the end, Puck removes the flower from Lysander’s eyes and all the lovers end up happy and married by the end. Bottom also is returned to his prior shape as a human and Titania’s love potion is removed after Oberon steals the child; the fairy queen and the king reunite. They all gather together to celebrate Theseus and Hippolyta’s wedding and watch the Rude Mechanicals’ play, poking fierce fun at the hapless actors in the process.

First up on the playlist is The Beatles’ She’s Leaving Home, referencing Hermia running away from her father’s house to be with Lysander. To be fair, he literally threatened to kill her if she didn’t marry Demetrius so…good decision.

Wednesday morning at five o'clock
As the day begins
Silently closing her bedroom door
Leaving the note that she hoped would say more

She goes downstairs to the kitchen
Clutching her handkerchief
Quietly turning the backdoor key
Stepping outside, she is free

She(we gave her most of our lives)
Is leaving (sacrificed most of our lives)
Home (we gave her everything money could buy)
She's leaving home, after living alone, for so many years (bye bye)

Next up is Kanye West’s Heartless, referring to how heartlessly Demetrius treats Helena. Just switch the gender in the chorus lyrics and it applies perfectly to the situation.
“In the night I hear ‘em talk” - everyone knows about what Demetrius did to Helena; Lysander uses it as an example for why Hermia should be with him, and Theseus admits that he’s heard of Demetrius’s behavior and had wanted to talk to him about it.

In the night, I hear 'em talk
The coldest story ever told
Somewhere far along this road, [she] lost [her] soul to a [man] so heartless
How could you be so heartless?
Oh, how could you be so heartless?

David Bowie’s Magic Dance, from the movie Labyrinth, is a personal favorite of mine. I’ve loved that movie since I was just a child. And fortunately, it’s all about magic, dancing and kidnapping children, all things that are very present in Midsummer!

I saw my baby, trying hard as babe could try
What could I do?
My baby's fun had gone
And left my baby blue
Nobody knew
What kind of magic spell to use
Slime and snails
Or puppy dogs tails
Thunder or lightning
Then baby said

Dance magic, dance (dance magic, dance)
Dance magic, dance (dance magic, dance)
Put that baby's spell on me (ooh)
Jump magic, jump (jump magic, jump)
Jump magic, jump (jump magic, jump)
Put that magic jump on me (ooh)
Slap that baby, make him free

Billie Holiday’s You Go to My Head stands for Helena’s feelings for Demetrius. She loves him hopelessly and desperately; even though it seems like their relationship is truly over and he’s not interested any more, she pursues him.

The thrill of the thought
That you might give a thought to my plea
Casts a spell over me
Still I say to myself "Get a hold of yourself"
Can't you see that it never can be

You go to my head
With a smile that makes my temperature rise
Like a summer with a thousand Julys
You intoxicate my soul with your eyes
Though I'm certain that this heart of mine
Hasn't a ghost of a chance in this crazy romance
You go to my head

The Chordettes’ Mr Sandman refers simultaneously to a magical figure bringing sleep and love to the singer and the titular “dream.” After the night is over, all the humans involved in the shenanigans believe they have only dreamed of falling in love with various different people and having donkey’s heads and such.

Mr. Sandman, bring me a dream
Make him the cutest that I've ever seen
Give him two lips like roses and clover
Then tell him that his lonesome nights are over

Mr. Sandman, I'm so alone
Don't have nobody to call my own
So, please turn on your magic beam
Mr. Sandman, bring me a dream

I actually have been really struggling to find a song that represents the Rude Mechanicals and had some trouble. Yackety Sax maybe, but I already used that for my #ShakespearesPlaylist on The Comedy of Errors. What do y’all think? In any case, here’s an old video of The Beatles performing the Pyramus and Thisbe scene of Midsummer with a few other random dudes I don’t know on a variety show they hosted in 1964!

Finally, I’m closing out this post with a video of the recent production of A Midsummer Night’s Dream, put on by my Shakespeare troupe The Britches and Hose! I’m not in it (I didn’t have a car at the time so I didn’t try out, no good way to get to rehearsals), but half my friends are! Also it’s the funniest version of this play I have EVER seen and you can probably hear me laughing hysterically throughout.

What suggestions do y’all have for A Midsummer Playlist? Please commen tor send them to me @RachaelDickzen on Twitter ! I’d love to hear your ideas. :)

The Alternate Costumes of Six the Musical

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The original primary West End cast of Six (Idil Sukan)

The original primary West End cast of Six (Idil Sukan)

Because of its small cast and rabid fanbase, Six has the ability to get away with things that I’m not sure would fly in any other musical. Specifically, each alternate has their own costumes that are separate from the main Queen costumes. In other musicals and plays, it’s standard practice for alternates and understudies to wear the same costume/style of costume as the main actors, with the idea that they should blend in as much as possible. But Six encourages their alternates to stand out and online, the alternates have almost as much of a rabid fanbase as the main actresses!

An Alternate is a performer who occasionally goes on in a role to give the main performer a break. Their performances are usually scheduled. From what I can see online, it seems like each production of Six generally has 2-3 alternates that sub in regularly, primarily for two specific queens. London also has an understudy, who will only go on stage if someone is unexpectedly out, like if an actress is ill. Seems like the formal alternates also jump in as understudies if need be.

It seems like the costume designer and creators have a lot of fun with the alternate costumes, using colors and styles that don’t show up in the main queens’ outfits. None of the costumes are exact copies of any of the queens’ outfits, but they do take a lot of inspiration from them.

I’ll point out a few of the different hairstyles here, but for the most part, I plan to just talk about the different elements of the alternate costumes - which queens they came from, etc.

A TON of people on Tumblr have done more in-depth coverage and include more pictures:

Grace Mouat’s Costume- https://divorcedbeheaded.tumblr.com/post/184743930784/so-as-you-know-the-understudies-cover-all-six

A review of the black and blue alternate costumes: https://lightleckrereins.tumblr.com/tagged/six-alternates

A great overview of all the costumes: https://six-costume-refs.tumblr.com/

Various Instagram Sources: sladegabriella, camden costumes, dxntloseurhead

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Let’s start with a look at the black alternate costumes. The alternates change up their hair and makeup to match each queen’s style, and it does seem that certain styles of alternate costumes are worn only with certain queens.

Mallory Maedke is currently the alternate for Boleyn, Seymour, and Howard for Six the Musical: US. As you can see in the left and middle photos, she’s clearly wearing the same or very similar costumes, but her hair is done differently. On the left, she’s going on as Jane Seymour, with the long flowing hair pulled back away from the face, without any studded accessories. I don’t know for certain who she’s playing in the picture on the right, but based on the hair and the wristbands, I’m guessing Anne Boleyn.

These alternate costumes are so interesting, because they have enough elements in common with the usual queen costumes to blend in with the style of the show, but they tend to have a few unusual touches all their own. The grommets and stripes are the most obvious common elements with the other costumes. This dress also has a skirt similar to that seen on Aragon’s, but with more panels, and it goes all the way around. The mesh is similar to that in Boleyn’s outfit and the long sleeves are similar to Seymour’s. The top of the sleeves however is a totally unique feature you don’t see in any of the main queens’ looks. They have a very strong profile and almost look like ribbon on a Christmas present.

ADDED 12/16: Liv Alexander of the Breakaway cruise cast, going on for Boleyn. LOOK at her skirt! No one else has a skirt like that! It’s got more pleats and a fuller silhouette than all the other alternate skirts (it actually looks a lot like the shape of Boleyn’s skirt) and also actually goes completely around, as opposed to the ones that open in the front. The bodice looks identical to Maedke’s above.

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Left: Natalie Pilkington- (Bliss cruise alternate) as Catherine Parr.She also has similar sleeves as can be seen in the first Maedke dress. The pants look similar to Parr’s, but if there /is/ lacing on the sides, it doesn’t look near as wide apart as the lacing in Parr’s outfit usually is (although there have been slight variations from actress to actress).

Middle: Mouat and Colette Guitart (understudy, West End) - You can see the details of Mouat’s costume a lot better here - it’s very similar to Maedke’s dress, but appears to have little epaulettes, which seems evocative of castle crenelations or modern military dress. Guitart’s dress has a similar neckline and sleeves, but the top has fewer vertical stripes and more criss-crossing straps. The see through panels in the skirt are very similar to Howard’s skirt.

ADDED 01/15/2020: Natalie Pilkington again - this time as Aragon - Her skirt is a little too shiny for me to see all the details, but it looks kind of like a cross between Mouat’s and Guitart’s in the middle picture: with the cut open and shiny alternating black and white fabric stripes. The emphasized shoulders look very similar to Natalie’s Cleves outfit, but the long sleeves are different and have the really wide lacing on them, which I don’t think any other alternate’s costume has.

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ADDED 11/30: Cassie Lee of the UK tour, going on for Anne of Cleves. I haven’t seen this costume before; this one looks very similar to a Vicki Manser’s turquoise Cleves outfit above, but the sleeves are connected and the shorts aren’t cut as high. The jacket’s neck is also higher and the shorts don’t have the diagonal stripes seen on Manser’s.

The next photo also shows Lee, only this time she’s going on for ARAGON [corrected 05/04/2020] (I’ve brightened it up a lot to show the details of the outfit more). This costume is really similar to Grace Mouat’s black one seen above, but there are some slight differences in the beading design of the top, plus, it’s a crop top rather than a dress. It doesn’t appear to have the epaulettes of Mouat’s dress and the material is different, less shiny and smooth and more sparkly.

ADDED 01/15/2020: Natalie Pilkington going on as Cleves - the costume looks similar to Cassie’s Cleves outfit, but with chains and separate long wrist bands instead of long sleeves.

Next - the teal/blue costumes!

Left - Vicki Manser (West End) - Anne of Cleves variation - Here’s where you can see they really started having fun with the costumes. Vicki’s shorts are kind of similar to Cleves, but higher waisted and cut differently - they’re much more classically sci-fi in their looks, particularly with that color! The jacket and top underneath are pretty much straight Cleves, complete with the fur, although the arm warmers are different than Cleves’. The criss cross straps at the type emulate those seen on Cleves and Howard.

Middle: Vicki Manser - All queens except Cleves - The shorts seem identical to the left outfit, although I can’t quite tell if the belt detail is the same; there may be epaulettes at the top? It’s hard to tell. That top though is just delightfully bizarre and totally unlike anything else. It has the shape of Boleyn’s top, with the see-through cut out of Catherine Parr’s top. The horizontal stripes aren’t visible in any of the main queen’s costumes, which all use either diagonal or vertical (or checked in Boleyn’s case).

Right: Nicole Kyoung-Mi Lambert (US) - Aragon/Parr variation – The pants are pure Parr, although the fabric strips connecting the top and the pants are very different and seem to emulate Cleves’ or Howards’ criss-cross straps on their neckline. The top is very similar to the middle Manser look (with the Boleyn style cut and sleeve tops and the Parr style see through cut out), only with the long sleeves of Seymour. It seems to have similar possible epaulettes/belt thing as the Manser look, but with more of them.

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Left: Bryony Duncan (Bliss Cruise) - Boleyn- This looks almost exactly like Boleyn’s dress in silhouette, sleeves, wristbands, mesh, and skirt fullness, only the checks are diagonal instead of straight up and sideways. In addition, she has the cut out in the middle like Parr.

ADDED 01/15/2020: Middle: Bryony Duncan - Seymour - The top is similar to the one on the left, but the stripes are tilted differently, plus she has long black sleeves here. The skirt is super cool and unlike any other alternate skirt I’ve seen so far. It looks most like Jane Seymour’s skirt, but shorter and with a belt and contrasting stripes rather than stripes that blend in.

ADDED 01/15/2020: Right: Still Bryony (although doesn’t she look so different from picture to picture?) - Howard - The top is similar to the other two, but just a bit different - it looks like the collar is higher and the sleeves a bit more prominent, plus the long sleeves are blue instead of just black. The skirt is awesome and looks similar to Katherine Howard’s skirt, only with more checked fabric and contrasting stripes. In fact, the Australian Katherine Howard outfit looks JUST very similar to this one, although the Aussie skirt has checked fabric stripes running vertically as well as horizontally and is overall a bit shorter.

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Left: Cherelle Jay (West End) - Dressed as Boleyn. The top seems very similar to the Duncan outfit in the middle, with all its similarities to Boleyn’s dress but the shorts has the Cleves belt and the epaulettes seen in Manser’s “all queens but Cleves” outfit.

ADDED 11/30: Right: Jennifer Caldwell of the UK tour, who primarily covers Anne Boleyn and Katherine Howard. Her top looks a lot like Bryony Duncan’s costume above, but the middle part isn’t as sheer and it looks like the neckline may be a little different. The skirt has vertical checks instead of diagonal, plus she’s got the split in the middle which isn’t present in Duncan’s.

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On to the Orange costumes!

Left: Hana Stewart (West End), who alternated primarily as Jane Seymour and Catherine Parr [corrected 05/04/2020]. This top seems to be very similar to the Maedke costume at the very top of the page, only with more busy ribbons on the sleeves - the tops of these sleeves appear to have four individual sections, while the Maedke sleeve tops appear to be one accentuated cap sleeve. The middle black stripe is similar to Catherine Parr’s, but without the sheer fabric. The criss cross laces on the top and the pants appear to be reminiscent of corset laces historically.

Middle: Courtney Stapleton (West End), who alternated primarily as Jane Seymour and Catherine Parr, but also understudied all the other roles. From the hair accessories, it looks like she’s probably going on as Catherine of Aragon or Cleves. This costume looks the same as Stewart’s, except it’s missing the straps in between the top and pants.

ADDED 11/30: Right: Harriet Watson of the UK tour. Her costume is similar to Hana Stewart’s and Courtney Stapleton’s orange outfits above, but looks to have slightly different sleeve material. Plus the top isn’t a crop top. Oh, and the pants are definitely different from Stewart’s; Stewart’s pants have two thinner orange stripes and criss cross lacing , but Watson’s look to just have one big orange stripe.

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These pics are from the instagram accounts of costume designer Gabriella Slade and Camden Costumes, one of the people who sew and assemble the costumes. I don’t think these costumes have been used in the show yet, as I can’t find any photos of them anywhere, but they do look really interesting and exciting for the future! The costume in the second from the right looks very similar to the shape of Catherine of Aragon’s dress, but has the checks of Boleyn. The one on the far right reminds me most of the current orange costume, with its peplum, but it has the mesh of boleyn’s costume. The belt detail seems borrowed from Cleves’ shorts.

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Finally, the pink costumes!

Shekinah McFarlane (West End), who alternated primarily for Aragon and Cleves. It appears that when she stood in for Cleves though, she wore the regular costume instead of a special alternate costume. She now is Cleves on the UK Tour. This lovely opalescent pink dress has the general shape of Aragon’s dress, with the split skirt and long sleeves. The sleeve top is similar to the blue Duncan costume above, with a Jetsons sort of feel to it. The neck decoration is really interesting - I love how it continues the vertical stripe in the bodice up around the neck. Haven’t seen anything like that in the other costumes. This outfit also has a split peplum on the skirt, which feel similar to the epaulettes seen in other alternate outfits, but is different enough that it stands apart.

Zara McIntosh (West End), who alternates for Howard and Aragon. In these photos, she’s made up for Howard. It’s clearly the same or similar style dress as the one McFarlane is wearing.

I haven’t seen any other opal pink costumes but the fabric is absolutely gorgeous, so I certainly hope that changes soon!

#ShakespearesPlaylist: Twelfth Night

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This is part of the #ShakespearesPlaylist series! You can read all of those posts here!

So I LOVE finding songs to fit the mood of #Shakespeare plays. Basically every time I hear a song I love on the radio, I think about how I could fit it into a production. I can’t help it. My brain just does that, which is funny, because I’ve only directed one production (my own one-act) and questioned myself and my abilities the entire time, so I don’t necessarily see myself directing anything else any time soon, but I just like to dream about the music anyway.

I’ve decided to play with this habit of mine more and make full-fledged Spotify and Youtube playlists for each play by Shakespeare, under the umbrella name and hashtag #ShakespearesPlaylist .

So Twelfth Night has long been one of my favorite Shakespeare plays (like, since age 10) and I’ve performed in it twice myself, so the summary and song list in this post are longer than any I’ve written so far in this series! I just can’t help myself, I really love this play, hah.

The Britches and Hose Production of Twelfth Night in 2011. I was Viola!

The Britches and Hose Production of Twelfth Night in 2011. I was Viola!

The Britches and Hose Production of Twelfth Night in 2017. I was a wandering singing musician person - we called ourselves the Festettes!

The Britches and Hose Production of Twelfth Night in 2017. I was a wandering singing musician person - we called ourselves the Festettes!

Quick Wikipedia Summary: Viola is shipwrecked on the coast of Illyria. Believing that her twin brother Sebastian is dead, she disguises herself as a young man under the name Cesario and enters the service of Duke Orsino. Duke Orsino has convinced himself that he is in love with the noble lady Olivia, who is mourning the recent deaths of her father and brother and refuses to see any men or entertainments. Duke Orsino then uses 'Cesario' as an intermediary to profess his passionate love before Olivia. Olivia, however, falls in love with 'Cesario', setting her at odds with her professed duty. In the meantime, Viola has fallen in love with Duke Orsino, creating a love triangle: Viola loves Duke Orsino, Duke Orsino loves Olivia, and Olivia loves Viola disguised as Cesario.

In the comic subplot, several characters conspire to make Olivia's pompous steward, Malvolio, believe that Olivia has fallen for him. This involves Olivia's riotous uncle, Sir Toby Belch; another would-be suitor, a silly squire named Sir Andrew Aguecheek; her servants Maria and Fabian; and her melancholy fool, Feste. Through a fake love letter, Malvolio is encouraged to make a fool of himself in front of Olivia, who is convinced that he is mad and leaves him to be cared for by his tormentors. Pretending that Malvolio is insane, they lock him up in a dark chamber. Feste visits him to mock his insanity, both disguised as a priest and as himself. Sir Toby later marries Maria for this jest. When Malvolio is finally released, he swears revenge on all who conspired against him.

Meanwhile, Viola's twin, Sebastian, has been rescued by Antonio, a sea captain who previously fought against Orsino, yet who accompanies Sebastian to Illyria, despite the danger, because of his admiration for Sebastian. Sebastian's appearance adds the confusion of mistaken identities to the comedy. Taking Sebastian for 'Cesario', Olivia asks him to marry her, and they are secretly married in a church. Finally, when 'Cesario' and Sebastian appear in the presence of both Olivia and Orsino, there is more wonder and confusion at their physical similarity. At this point, Viola reveals her identity and is reunited with her twin brother. The play ends in a declaration of marriage between Duke Orsino and Viola.

I chose “Hey Brother” by Avcii to demonstrate the familial love between Viola and Sebastian. Both of them believe the other has drowned in the crash and are pretty devastated about it. The chorus in particular fits this storyline:

What if I'm far from home?
Oh brother, I will hear you call!
What if I lose it all?
Oh sister, I will help you out!
Oh, if the sky comes falling down, for you
There's nothing in this world I wouldn't do

Amy Winehouse’s cover of “To Know Him is to Love Him” is a perfect illustration of Viola’s love for Duke Orsino.

To know know know him
Is to love love love him
Just to see that smile
Makes my life worthwhile

Why can't he see?
How blind here he be?
Someday he'll see
That he was meant just for me, oh oh oh oh

Taylor Swift’s “You Belong with Me” also represents Viola’s situation, simultaneously in love with Orsino but pretending to be his male friend, having to woo another lady on his behalf. It’s so bubblegum pop that I really resisted including it in this list, but honestly, the lyrics are so ridiculously perfect for this plotline that it had to happen.

If you can see I'm the one who understands you
Been here all along so why can't you see
You belong with me
You belong with me

Walkin' the streets with you and your worn-out jeans
I can't help thinking this is how it ought to be
Laughing on a park bench, thinking to myself
Hey isn't this easy

And you've got a smile that could light up this whole town
I haven't seen it in a while since she brought you down
You say your fine
I know you better then that
Hey what you doing with a girl like that

…I'm the one who makes you laugh
When you know you're about to cry
And I know your favorite songs
And you tell me about your dreams
I think I know where you belong
I think I know it's with me

I’ve chosen Carly Simon’s “You’re So Vain” to represent Malvolio, who is so overproud that he willingly believes his mistress Olivia is in love with him, despite the ludicrousness of the fake love letter and the situation as a whole. He literally thinks the letter is about him!

You're so vain
You probably think this song is about you
You're so vain,
I'll bet you think this song is about you
Don't you? Don't you?

I chose Mad World by Gary Jules to represent Sebastian’s massive confusion about arriving in Illyria. Everyone seems to know him and have strong opinions about him, but he just got there! What the heck is going on. (I’m not so certain on this choice, as I think the overall mood of the song is too melancholy for Twelfth Night, but I really want something in here about Sebastian’s POV. I may replace this one later if anyone has any good suggestions!)

The Lumineers’ “Hey Ho “is a great song to represent Feste, as Feste’s song in the show literally includes the words “Hey Ho, the wind and the rain.” Plus, the laid-back troubador style of Hey Ho works really well for Feste’s casual and humorous approach to life.

Finally, here’s a video of an actual production of Twelfth Night which I actually was in. It’s the final song in the show, The Rain it Raineth, with music by Dave Seidman-Joria. Feste in this version is played by Sam Stenecker! Then from left to right in the back is: Lauren Sutton, Leandra Lyn, Megan Fraedrich, Rachael Dickson (my non-writing superhero alter ego), and Dan Clark.