A Midsummer Night’s Dream is arguably William Shakespeare’s most popular and produced comedy, a beloved tale of mismatched lovers under a spell cast by mischievous fairies before most everything in the world is righted.

I’ve lost count of how many productions I’ve seen in the Sarasota area in the last 40 years—certainly more than any other Shakespeare play—and I have rarely seen it as colorful and spirited as the version Jonathan Epstein has staged to close the FSU/Asolo Conservatory’s season.

Gone is the attractive replica of the Globe Theatre the company has used for Shakespeare productions in the last few years. 

In its place, long ribbons of circus silks dangle from the rafters like a colorful forest of trees, where those fairies will eventually play—climbing, swinging or napping in a hammock of fabric. Scenic and lighting designer Chris McVicker turns it into a tree-filled playground, with day-glo patterns on the floor that match similar designs on Jordan Jeffers’ costumes that all come alive under black light.

In that playground is a hard-working group of second-year conservatory students, most of whom play multiple roles in creative ways. They fall asleep as one character and are awakened as another. 

The four actors playing the four lovers double as fairies and a troupe of performers known as The Mechanicals who are set to perform Pyramus and Thisbee for Theseus, the Duke of Athens, before his wedding to Hippolyta. Theseus and Hippolyta also play Oberon and Titania, the king and queen of the fairies.

Some of the cast members are more comfortable than others in speaking Shakespeare as if it were “normal” language, while others sound more formal or struggle to convey the meanings behind the beautiful words. But the story is easy enough to follow no matter how well the words are spoken. 

The aging Egeus has promised Demetrius that he can marry his daughter, Hermia, but she plans to run away with Lysander. Left in the wings is Helena, who is in love with Demetrius, who, of course doesn’t return her affections, until a visit to the woods and suddenly she’s being chased by both men.

Angelle Mishon is delightful as the frustrated Helena, who is initially forlorn, but you see her strengthen her resolve as she follows the two men chasing her friend and rival. She is well matched with Jacquelyn Morales as Hermia, who watches her beloved Lysander (Edgardo Solorio) suddenly turn his attentions to Helena. And you feel how awkward she feels each time Corrie Owens as Demetrius inches closer.

Austin Ridley is wonderfully hammy as the weaver and actor Nick Bottom, who believes he should play all the roles in the play and demonstrates how well he can do them. He also has fun when Bottom is turned into a donkey as part of a trick Oberon plays on Titania. He walks with a little strut and brays and hee-haws in convincing ways.

His director, Peter Quince, is played in a lively style with a boisterous New Yawk-ish accent.

Brandon Billings has clear authority as both Theseus and Oberon, though the fairy king is far more interesting to watch cavorting in the forest. His partner in all scenes is Katriana Velez, who is far more comfortable, but still reserved, as Titania.

And as the fairy sprite Puck, Alan Kim is a bundle of spirited energy. He seems to fly across the floor or amid the trees, gleefully playing tricks to please Oberon, entertain himself, and leave audiences members smiling as they leave.

FSU/Asolo Conservatory's A Midsummer Night’s Dream runs through April 26 at the Cook Theatre in the FSU Center for the Performing Arts, 5555 N. Tamiami Trail, Sarasota. Tickets are $40. For more information, go to asolorep.org or call (941) 351-8000