reviewed by Michael Dresdner
reprinted with permission from Michael Dresdner's blog
It’s challenging to make a Shakespearean comedy as genuinely
funny to modern audiences as it was meant to be, but thanks to an absolutely
stellar cast under the excellent direction of Rachel Fitzgerald, Lakewood Playhouse has done it. Twelfth Night is a gem; a fast-paced,
delightfully hilarious romp.
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| Left to right: Clifford Peddicord, Russ Coffey, Brittany D. Henderson |
There’s a plot, of course, which is as convoluted as you can
imagine and loaded with characters, too numerous to mention, who help connect
the dots. Fortunately, the plot does not get in the way of the real hilarity,
most of which comes from sub-plots and irrelevant hijinks. Here’s a relatively
brief overview.
Viola (Maggie Lofquist) lands on Illyria convinced her twin
brother Sebastian (Alex Smith) has died in a shipwreck. She dresses as a man
named Cesario to get employment with Duke Orsino (Mason Quinn), and soon falls
in love with him. But the Duke is in love with Olivia (Angelica Duncan), who
won’t have him. She instead falls for Viola/Cesario, who is acting as the
Duke’s messenger, thus creating an interesting love triangle. However, the Duke
also has what he sees as an unexplainable homosexual attraction to his new
servant Cesario.
Eventually, a very alive Sebastian, who likewise believes
his sister is dead, shows up with his friend and protector Antonia (Kait
Mahoney.) While she gets arrested for prior offenses, he meets Olivia, who mistakes
him for his cross-dressing twin Viola/Cesario. She pours out her love to him
and he marries her on the spot, conveniently ignoring the fact that she calls
him by the wrong name.
Meanwhile, lots of other shenanigans are going on in the
household of the high born Olivia. Anchoring the hilarity are two screamingly
funny drunken reprobates; Olivia’s brash, besotted uncle, Sir Toby Belch
(Clifford Peddicord), and his clueless, clumsy sidekick, Sir Andrew Aguecheek
(Russ Coffey). Aiding and abetting them are their female counterparts, Maria
(Deya Ozburn) and Fabian (Brittany D. Henderson.) Granted, women of the time
had to be more restrained, and less inebriated, but they do a wonderfully
nuanced job of keeping up their end of the craziness. Whenever these four outstanding
actors come on stage you are in for a rollickingly delightful time.
In fact, the only one who could edge them out for “steal the
show” credits is their chief victim, Olivia’s pompous, stuffy steward Malvolio
(Ian Lamberton). The comic gang of four convince him Olivia will fall for him
if he acts and dresses as a complete fool. They get him incarcerated and coax
the town’s troubadour/fool Feste (Steve Tarry) to taunt him while captive.
Lamberton plays Malvolio way over the top, and it is absolutely hilarious,
creating far and away the best and funniest Malvolio I’ve ever seen.
There are a few more side plots, but eventually, Antonia and
Malvolio get released from their separate incarcerations, and both go off in a
huff. Sebastian and Viola discover each other alive, which allows the latter to
reveal her true gender. She agrees to marry the Duke, who finally understands
his strong affection for this “man” he’s been calling Cesario. Olivia discovers
her husband’s real name and his connection to Viola/Cesario, and in what must
create the ultimate troublemaking couple, Sir Toby marries Maria.
Of course, nothing is ever perfect, and there was one thing
that rankled a bit. The director switched the male character Antonio to a
female Antonia. The heterosexual Sebastian is supposed to be confused and
repulsed by Antonio’s homosexual advances, but that reads differently when they
come from a stunningly beautiful Antonia.
Aiding the cast was a very adept support group. Blake York
provided a simple and appropriate set, beautifully painted by Jen Ankrum and
crew. Alex Smith (Sebastian in the cast) handled sound and Brett Carr designed
lighting. Costumes by Marcie Haggerman were certainly interesting and
attractive, though not always consistently in period, and sometimes marred by
expansion panels in the back. Still, that’s the challenge of dressing a large
cast with many changes in community theatre.
Admittedly, Shakespeare continues to scare some away. “It’s
the language,” they say. “I won’t understand Elizabethan jargon.” Thanks to
adroit directing and very skilled acting, you don’t need to worry about that.
Through exaggerated body movement, facial contortions, and very expressive
vocal work, all the actors make it abundantly clear what is being said. As one
of the cast assures you in her blog, “We are doing the work FOR you.”
That said, go, and go fearlessly, to see Twelfth Night at Lakewood Playhouse. You’ll be treated to a top-to-bottom
outstanding cast, an excellent, fast-paced production, and an evening of
guaranteed laughter.
Twelfth Night
Nov. 9 to Dec. 2, 2012
Lakewood Playhouse
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