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'Twelfth Night' sorts out confusion
(by Herb Hammer - October 14, 2009)
THEATER, BY HERB HAMMER
'Twelfth Night' sorts out confusion
In order to avoid the confusion brought by the many farcical elements in Shakespeare's romantic comedy "Twelfth Night," it's best to read the synopsis first. If this is accomplished, the sheer joy of the Great Lakes Theater Festival's production can truly be appreciated much more.
The festival is performing "Twelfth Night" in repertory with "The Mystery of Edwin Drood" at the magnificent Hanna Theatre. Just to be part of Shakespeare, the Hanna and Gage Williams' cartoon set is worth the price of admission.
But confusion abounds as falling in love becomes the way of things. Sorting out the complications is half the fun.
After shipwrecked Viola crawls ashore on the fictitious island of Illyria, she immediately disguises herself as a boy in order to make her way in the world. She believes her twin brother, Sebastian, has drowned.
She attaches herself to the wealthy and somewhat crazy aristocrats who inhabit the island and enters the service of Duke Orsino. The duke is in love with Lady Olivia. Viola, who has taken on the name of Cesario, acts as a messenger. The object is to win Olivia for the duke.
Here is where attention must be paid, for Olivia falls in love with the boy Cesario, who's really the girl Viola, who is now in love with the duke.
Shakespeare adds more suitors and more comic characters to provide window dressing for the main plot.
The handsomely dressed cast runs on and off stage, offering foolish comedy and music and song. Before returning to the main plot, Shakespeare insists on burlesque comedy.
Finally, Viola's twin, Sebastian, turns up. In the confusion, Olivia, believing him to be Viola, asks him to marry her, and, of course, he does.
When the twins come together, all are amazed at the resemblance, and somehow the marriages are balanced, leaving everyone quite happy.
Humor, song and slapstick comedy, along with the silly love story, make for a cheery Shakespearian experience.
Director Charles Fee keeps the action poetic and a bit crazy. The festival's insistence on using the aisles in the auditorium has a community theater look that kills off some of the professionalism, which finally survives. We have been threatened that there will be more of this in future productions.
Sara M. Bruner, as Viola, is a first-class scene stealer. The pert Miss Bruner lifts the production with her innocent wit and charm. With her surprising talent, she holds the show together.
Jodi Dominick is pleasing as Olivia, and the rest move the action quite well.
Mr. Fee can't seem to help but overplay the comedy, which might well have been calmed down a bit.
But nitpicking this glamorous production does not take away the grand entertainment.
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