If one were to write the perfect play that evokes the Greek roots of theater, that focuses on unrequited (and requited) love, that finally becomes a shambles of brilliant comic absurdity, one might write Shakespeare’s “A Midsummer Night’s Dream.” Baylor University, under the apt direction of Steven Pounders, is currently producing WS’s comedy/romance/homage at its Mabee theater, but never mind because the run is sold out. There are standing-room-only if you are so inclined. If you were, however, to write such a play it would have to employ an unbelievable plot, mystical (if not magical) beings that are not human, lots of love interest, a cranky mother (in-law), transformations, oneiric devices where people dream and sleep and change (their minds), lots of (un) happy couples, a cast of thousands, a dog, acrobats, and an actor in charge of playing a wall, a lion, and/or the man in the moon. Dump all of that into a cocktail shaker with some mist, lighting and sound effects, shake well, and pour into a clean glass of appropriate shape. Serve with a twist of mint (or lime zest). As far as the actions goes, anything goes, including, but not limited to a man being turned into an ass, a woman who does not get eaten by a lion, an existential wall, and lots of tree climbing. What really makes this play interesting is the atmosphere of uncontrolled (but orchestrated) chaos which creates an atmosphere of brutal irony, deep ambiguity, and profound satire. None of the lines, scenes, actors, or plot devices are what they seem to be. In other words, the absurdity of the story line is supposed to bother the audience who are riding an out-of-control theatrical roller coaster. The trick is, if you are the director, don’t let it crash, unless you are willing to let it crash. Control every muscle, every word of every line, and let it seem to crash. At the last moment, you apply the brakes just in the nick of time. This is what you get from a Steven Pounders production: sensuous physicality. His actors move like cats when they have to, die gloriously when possible, and love each other when appropriate. The ensemble of acrobats and tumblers were relentless, and the pacing of the play was breathless when it needed to be, contemplative when the words were important. I personally could have done with less screaming (a young actor thing) and less hysteria, but the entire production was so good that I forgive that. Most actors can do tragedy and romance rather well, but comedy and comedic timing are a little trickier, and there were times when the actors steamrolled some very funny stuff (not Bottom (Jeff Wittekiend), he got it right). Go slower, work on delivering the perfect punch line, the exquisite double-take, and forget about your dignity. One could, from time to time, see the actors trying to work at a slower pace, fighting with themselves. The play itself is a reflection of life itself–fragmented, non-linear, ironic, and discontinuous. Costuming and make-up were top notch, especially for the ensemble of sprites and fairies. The main set was a gloriously large tree, nicely symbolic, and hugely metaphoric. Lighting and sound were on the mark. Perhaps the only thing that needed correcting in the entire production was a program with a couple of notes about the play, WS, and something about this production. Dramaturge notes were conspicuously missing. Tip of the hat to all involved for a wonderful evening at the theater.