2351. “Oberon and Titania” by Elvis Costello
Available at Lala.
At last, the main attraction of “A Midsummer Night’s Dream!” The Fairies!
Well, actually, they are the subplot of the story. They are fantasy characters thought and allow you to cast a number of lythe young women to wear form fitting outfits and wings, so they’re largely regarded as the more interesting characters. Hogwash!
In fact, as I alluded to earlier, the inability of directors to make interesting choices (beyond visual) with the fairies is part of what hobbles productions of “Dream.” This version of the story introduces the characters at the top of the second act.
I am pleased to report that, at least musically, Costello produces perhaps his strongest piece in this ballet for the first appearance of Oberon, king of fairies, and Titania, his queen. It starts with a fairly formal sequence before launching into what Costello refers to as a “violent argument” at 1′28.
The “violent argument” is a delightful, exotic musical sequence that has a touch of Romany music, a touch of something Italian, and a touch of something Middle Eastern - all as if it were produced by Burt Bacharach for some swinging 1960’s movie. It is charming and made me laugh out loud the first time I heard it.
Technically, Oberon and Titania are arguing about a small boy they’d both like to own, but the boy is a macguffin. It doesn’t really matter what they’re arguing about - just that they’re arguing. Oberon’s next action is a direct response to his anger with Titania. Really, they could have been fighting over anything.