A contemporary version of the comedy at the Curtis Theatre remains muddled and slow until the sprightly final act.

If it’s spring, it must be midsummer.

Many playhouses, big and small, can’t wait for the dog days to stage Shakespeare’s “A Midsummer Night’s Dream.” Spring comes, with its warmer, longer, giddier days, and this frolicking classic starts sprouting everywhere.

Prism Productions has mounted a contemporary version of the comedy at the Curtis Theatre, meaning director Gary Krinke put the characters in current dress and tinkered with the settings.

The party-goers that open “Midsummer” now stand around in costume designer Mary Engwall’s sleek evening wear and the confused band of lovers looks like it could have walked in from the mall next door.

The modernizing doesn’t muck up the play. But the production remains muddled and slow, at least until the sprightly, near-saving final act. Until then, Shakespeare’s language is weakened by unsure acting, and the scenes unfold without much zest.

And “Midsummer” is a play that needs zest. This bawdy comedy of forest nymphs, fickle love and mortal foibles is all about energized atmospherics. It’s a dream with punch and panache.

Many key actors seemed hesitant at a recent performance, and everything kept stalling. Julie Remala, as Helena, was an exception, jumping into the romantic misadventures deftly, but she didn’t receive much support.

It should be noted that Sophie Areno, as Hermia, sounded like she had laryngitis. Hard to tell if she’s a good actor, not hard to tell that it detracted from the show.

Edward Judge as Oberon and Tiffany Carrington-Dyer as Titania, those imperial spirit lords, also didn’t register as strongly as they could have. The roles can be bounties of power and passion, but here they make a minimal impression.

A bigger, more welcome impact comes with the Mechanicals, the bumbling, clueless thespians. All the actors in this group do well, but the standout has to be Ryan Holihan as the squealing Francis Flute/Thisby. Holihan is hilarious--especially in the pleasing last act--and a properly pratfalling foil to Gregory Joseph Allen’s self-important Bottom / Pyramus.

The stage visuals, so important to “Midsummer,” are a mixed bag. The set design (credited to the Design Studio) veers from an intriguingly abstract forest to the too-bare, unimaginative party scene.

Jason Pendergraft’s lighting could be more dynamic. The shifts are merely between dark and light, with little variation in between. A phantasmagoria like this needs something more.

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* “A Midsummer Night’s Dream,” Curtis Theatre, 1 Civic Center Circle, Brea. Thursday-Saturday, 8 p.m.; Sunday, 2 p.m. Ends May 11. $7-$15. (714) 990-7722. Running time: 2 hours.

Edward Judge: Oberon

Tiffany Carrington-Dyer: Titania

Reginald Cabasol: Puck

Sophie Areno: Hermia

Julie Remala: Helena

Aaron Martinez: Lysander

Len Shlitz: Demetrius

Gregory Joseph Allen: Bottom/Pyramus

Bryan Madigan: Peter Quince

Ryan Holihan: Francis Flute/Thisby

Joseph H. Saenz: Tom Snout/Wall

Steve Josephson: Robin Starveling/Moonshine

Matthew B. Wilsey-Grisat: Snug/Lion

Annette Bravo: Hippolyta

Mark Phillips: Theseus

Louis Lippitt: Egeus

Erin McReynolds: Philostrata

A Prism Productions staging of William Shakespeare’s play, directed by Gary Krinke. Costumes by Mary Engwall. Sets by the Design Studio. Lighting by Jason Pendergraft. Sound by Tim Engwall. State manager: Colette Naffaa.