A bullied and demoralized gay student at an all-boys school uses a magical flower derived from Shakespeare's "A Midsummer Night's Dream' to turn many in his community gay, including a comely rugby player for himself.
In a suburb of London, young Jamie is escaping sport hours, to avoid being the victim of his comrades. Young Ste, his neighbor, is beaten by his father, and comes to sleep overnight. They discover new feelings, sleeping in the same bed.
If you had a love-potion, who would you make fall madly in love with you? Timothy, prone to escaping his dismal high school reality through dazzling musical daydreams, gets to answer that question in a very real way. After his eccentric teacher casts him as Puck in A Midsummer Night's Dream, he stumbles upon a recipe hidden within the script to create the play's magical, purple love-pansy. Armed with the pansy, Timothy's fading spirit soars as he puckishly imposes a new reality by turning much of his narrow-minded town gay, beginning with the rugby-jock of his dreams. Ensnaring family, friends and enemies in this chaos, Timothy forces them to walk a mile in his musical shoes. The course of true love never did run smooth; it's a bumpy ride. Written by
In the scene from All Things Shall Be Peace, as the characters and Ms. Tebbit are under the tree, Cole (in the gray shirt) is standing behind Ms. Tebbit and Donna. In the next shot, Cole is kneeling in front of them. In the next shot Cole is standing behind them again. See more »
Damn, I wanted to love this movie and I did. Well, parts of it. It's based on a short film called "Fairies" by Tom Gustafson, and starring some of the same actors. I think some positive feedback for that 24 minute movie, encouraged Gustafson & Co. to go back and expand it to a full-length production. Too bad. It WANTS so badly to be a musical, but there aren't nearly enough songs to make it one. The Midsummer Night's Dream mash-up is quite wonderful, but the plot veers off into the ridiculous when it should have stayed in the charming and touching world in which it begins. I love Tanner Cohen's voice; he's the absolute star of this movie, but he's sinfully underutilized. The choreography is so bad I really shouldn't call it that. It's unlikely to happen, but I hope director/writer Tom Gustafson rewrites this one more time for live theatre. This belongs on the musical stage.
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