THEATER REVIEW: Twelfth Night at Shakespeare and Company

Twelfth Night by William Shakespeare

 

(Founders’ Theatre, Shakespeare & Company, Lenox, Mass., 400 seats, $15-$60)

 

Reviewed by Lesley Ann Beck

 

A Shakespeare & Company presentation of a play in two acts by William Shakespeare. Directed by Jonathan Croy.

 

“Dost thou think, because thou art virtuous, there shall be no more cakes and ale?”

 

Robert Biggs                     Feste

Ken Cheeseman                Malvolio

Johnny Lee Davenport        Antonio and Valentine

Nigel Gore                        Sir Toby Belch

Merritt Janson                   Viola

David Joseph                     Sea Captain and 1st Officer

Alexandra Lincoln              Gentlewoman and 2nd Officer

Bob Lohbauer                    Curio and Priest

Corinna May                      Maria

Elizabeth Raetz                 Olivia

Duane Allen Robinson        Duke Orsino

Alexander Sovronsky          Fabian

Jake Waid                         Sebastian

Ryan Winkles                    Andrew Aguecheek

 

 

 

 

The aforementioned rich duke, Orsino, is in love with the Countess Olivia, who has sequestered herself in mourning. Andrew Aguecheek and Malvolio are courting Olivia, too, which allows the mischievous Sir Toby Belch, assisted by Maria, to make complete fools of them, aided by the sly Fabian. It all comes right in the end, woven together by the gentle presence of the clown Feste and lovely interludes of song—even some audience sing-along opportunities.

 

 

Twelfth Night includes many of Shakespeare’s favorite plot elements: a woman disguised as a man; unsuitable suitors; pompous fools brought to their downfall; social climbers put in their places; mistaken identities; the ever-popular shipwreck; some amusing swordplay; and happy couples at the end. The play, one of Shakespeare’s most successful comedies, also includes beautiful, lush writing and some very familiar quotes—remember If music be the food of love, play on? And how about But be not afraid of greatness: some are born great, some achieve greatness, and some have greatness thrust upon them.

 

 

Jonathan Croy has more than ably directed this Twelfth Night with a focus on comedy, which works very well. The classic comic characters, Sir Toby Belch, Maria, Andrew Aguecheek, and Fabian, are played broadly, with a hearty physicality. Croy also has chosen to extend the focus on humor to the characters of Olivia, and, to some extent, Viola and Orsino. Croy delivers a cohesive, accessible, and enchanting evening in Illyria.

 

 

Belch, played by Nigel Gore in an agreeably bold and brash fashion, is the ringleader, as it were, abetted by Corinna May as a delightfully scheming Maria and Alexander Sovronsky as an ironical Fabian. Aguecheek (played by Ryan Winkles with an endearing goofiness), with his posing and preening, is a perfect target for mischief. Winkles is as flexible as can be, tumbling into the audience, clambering out of a trap door, and interacting with his own armor in a very unusual—and hilarious—fashion.

 

 

Ken Cheeseman delivers a strong performance as Malvolio; when he appears in those yellow stockings, his expression is priceless. Cheeseman manages to make his character pompous and a little touching at the same time; poor Malvolio’s punishment seems so extreme.

 

 

This is a strong, well-balanced cast; all the more admirable as most of the actors are performing roles in either Othello or Hamlet in repertory this summer. Merritt Janson as Viola/Cesario is beguiling as she begins to fall in love with her duke—and vice versa—and Elizabeth Raetz proves herself adept at broad comic moments when the demure counte

ss turns into the over-eager bride.

 

And of course, in a charming turn, Robert Biggs gives us a Feste who seems a gentle soul, but with a sly edge. He also functions as audience warm-up comic and musician, performing some of the lovely original music.

 

 

This production is set in Elizabethan England, standing in for Illyria. The heavily detailed period costumes are magnificent, and the set, an arrangement of scaffolding with draperies that shift to change location, along with a few pieces of furniture, is simple and functional—and there's a wonderful trio of topiary trees that make for a very animated garden scene.

 

 

Croy’s production of Twelfth Night is human, touching, and exceptionally entertaining. And funny. It’s really, really funny. [AUGUST 2009]

 

 

Set design: Jonathan Croy. Costume design: Govane Lohbauer. Lighting design: Les Dickert. Sound design: Michael Pfeiffer. Music director: Bill Barclay. Stage manager: Hope Rose Kelly. Music composed by Robert Biggs and Bill Barclay with Alexander Sovronsky. Assistant to the director: Kelly Galvin.