Shakespeare's Twelfth Night

Entry No. 1 in the Oregon Shakespeare Festival (OSF) 2010 Recollection Series.

Twelfth Night, like many of Shakespeare's works, is a story of wit, love, and ultimately confusion. And, like most of Ashland's takes on Shakespeare, it was an impressive, tight, and utterly entertaining production.

The acting, consistent with every year I have attended OSF's productions in Ashland, was superb. The only complaint I have was in the casting of Miriam Laube as Olivia. Laube, who has in some circles earned the nickname of "smokermanface," was an interesting choice to say the least. She has a bit of a tendency to be over-exuberant, and her voice would have much more suited the role of Viola/Cesario. Having seen her in the 2008 production of Comedy of Errors as Adriana, I can say with certainty that she plays the role of a the masculine woman very well. She played an over-excited Olivia, yet despite this, she cut a grand figure in her costumes. Luckily her hyperbolic blocking got less-so in the second that. Either that, or I grew used to it. Once I was able to tune out her voice, she didn't bother me near as much as she could have.

However, in the end, I wouldn't switch out Viola/Cesario for the world. Brooke Parks was not only charming, she cut her role well on all counts. She was able to match Laube's exuberance in a mocking way appropriate for Cesario, and her chemistry with Kenajuan Bentley's Orsino was deliciously scandalous. In short, I loved her. I wish I could shake her hand.

But wait, it gets better: my absolute favorite casting choice was Michael Elich as Feste. He is, as demonstrated by this role, VERY multi-talented. Not only can he play the cunning, the half wit, and the sensitive soul, he can play them all at once. I was also thoroughly impressed with his voice: a decided full bass with a baritone flavor, or at least that's what I'd wager. I wish there was a recording of the music from this show. I would readily purchase it.

Equally amusing was the choice of time period: the late eighteenth century. The costumes lent themselves very graciously, all in late-Gregorian style but sparing the audience the pains of both Periwigs for the lads and Rococo for the ladies. Sir Andrew, brilliantly portrayed by Rex Young, was dressed as an Incroyable. The joke self-referenced when he pretended to be fluent in French: I thank whoever had the clarity to make the connection. However, dress notes aside, the period induced two factors into the mix which made the production: Mozart, and a very well-timed reference. Mozart is always welcome, especially to enhance that gossipy court-feeling many of the scenes carry (an atmosphere which was, thankfully, emphasized: it enhanced the aforementioned delicious scandalousness). The reference, meanwhile, was I think one of the best moments of the show. For, in the words of director Darko Tresnjak, "Consider Malvolio's exit line: "I'll be revenged on the whole pack of you." The sound of a guillotine and a tableau of gorgeous, smitten characters, all clutching their throats, seems right for this dangerous comedy." Dangerous indeed.

Oh, did I mention the gay pirate? (Antonio, played by the excellent Jimonn Cole. Yeah. Totally gay for Sebastian. He's fabulous. I love him.

Ta.