A Rambunctious ‘Twelfth Night’

By Alix Cohen

Disguise, mistaken identity, role reversal, breached social boundaries, servants mocking masters, fools speaking truth, status quo suspended…Written in 1602 for Twelfth Night holiday, Shakespeare’s romantic comedy reflects much of today’s culture.

A shipwreck washes Viola (Lupita Nyong’o) ashore in Illyria, sure her brother, Sebastian (Junior Nyong’o) was lost at sea. Swahili phrases reflect foreign origin. Later, conversing in their native tongue – and that of the director-adds a colorful layer of veracity. Junior is an excellent actor, Lupita is outstanding.

To make her way in relative safety, Viola dons a natty, pin-striped suit and, calling herself Cesario, charms her way into service with the most ripped Duke Orsino you’re ever likely to see. (Khris Davis) The actor exudes ego in the role, yet creates a multi-faceted personality. He has a marvelous speaking voice.

A glass box/room replete with candelabras rises from beneath the stage disgorging Orsino’s grey-suited Homies who line up in attendance. When one unwittingly reacts outside his station, he’s made to drop to the floor and do pushups. When Orsino exercises with sexual innuendo, each gyrates in his own unique, kinetic way.

Almost immediately, fixed notions of gender and attraction are called into question. As Viola falls in love with Orsino, the Duke finds himself uncomfortably drawn to the boy with peach fuzz skin. His persistent suit, however, is to Countess Olivia (Sandra Oh.) Oh displays ease with conversational Shakespeare and an expressive timing.

In Olivia’s household we meet maid servant Maria (Daphne Rubin-Vega- awkward with both language and tone) and her Steward, Malvolio (Peter Dinklage- brilliantly funny.) A side dish of humor is served by the Countess’s boisterous, inebriated uncle, Sir Toby Belch (John Ellison Conlee- at home in the genre), Andrew Aguecheek , the fop Toby wants her to marry (Jesse Tyler Ferguson trying too hard), and their compatriot Fabian (Kapil Talwalkar- holds his own)

Orsino believes his position grants him the right to indulge in the extreme. He’s entitled to Olivia’s love because he desires it. That she repeatedly spurns him has little effect on his ego. Sound familiar?

Rather than putting himself forward, he sends Cesario/Viola to woo Olivia. The Countess is as blind as her suitor and falls for charming young “man.”. In Shakespeare’s work identity is often constructed through costume, speech, and social hierarchy. Today’s gender fluidity, drag, and performative nature of public personas are analogous.

As Toby and Andrew get hookah-high and sloppy in a hot tub, Maria concocts a plan to make Malvolio think his Mistress is in love with him. The men carouse like caterwauling cats. A humiliating downfall follows, but not before Dinklage has us all crying with laughter.

Meanwhile Sebastian (Junior Nyong’o) arrives with besotted friend, Antonio (b.) in tow. (Both actors are excellent; comfortable with spirit and tempo.) Unaware Viola is alive, he’s confused when taken for Cesario, but goes with the flow to ultimate benefit. Shortly thereafter, Antonio takes Cesario/Viola for Sebastian. The siblings distinctly resemble one another.

Viola and Sebastian meet. Conversing in their native tongue – and that of the director- adds a colorful layer of veracity. Heads swivel. Olivia discovers she married the “wrong” man. Orsino can justify his feelings by uniting with Viola.

Feste, a Fool with electric guitar and Soho designer clothing, winds his way through the plot commenting and singing. “Better a witty fool than a foolish wit.” In his stage debut, Moses Sumney moves like a dancer, acts mercurially, and has a beautiful singing voice that rises to high tenor, but is sometimes vocally unintelligible.

Director Saheem Ali “A proud immigrant from Kenya,” currently serves as associate artistic director/resident director of New York’s The Public Theater.The triumvirate Fat Ham, Buena Vista Social Club and this play exhibit a wide range of sensibility. His tongue in cheek interpretation is aesthetically pleasing, theatrically credible, and always fun.

Clever conjuring of a boxing ring finds Andrew in colorful silks and Maria outfitted like a tacky Wrestle Mania score keeper. Conspirators “hide behind” three foot, three dimensional letters T R E E. The only permanent set piece is enormous spelling out of WHAT YOU WILL (The play’s full title is Twelfth Night, or What You Will.)

Maruti Evans Scenic Design is stark, locations indicated by configured pieces rising from below. This channels attention to plot while framing marvelous costumes by Oana Botez. Lighting (Bradley King) arrives with clear, artful intention.

Michael Thurber’s compositions/orchestrations seamlessly lend themselves to straddling period and present. Sound (Kai Harada/Palmer Hefferan) is pristine except for the damnable helicopters.

There’s a slight issue with lack of consideration to those not sat center. Especially with two-handed scenes, one looks at a back for protracted parentheses. Surely actors could move without losing narrative.

An splendid string quartet welcomes us: Michael Thurber, Maria Im, Tia Allen, and Angelique Montes.

The piece is buoyant. Go if you possibly can

Photos by Joan Marcus

A spanking new Delacorte features well angled, comfortable seats; quality lighting and sound.

Free Shakespeare in the Park presents
Twelfth Night by William Shakespeare
Directed by Saheem Ali
Details https://publictheater.org/Free-Shakespeare-in-the-Park/