By Liz Eichler
If you are looking for a raucous evening of bawdy jokes, sexual innuendo, clever wordplay, and catchy tunes–complete with an audience sing-a-long, then Cincinnati Shakespeare Company’s Twelfth Night is the place to be.
Twelfth Night is not trying to be demure, or mindful. It’s theme is that art and storytelling and joy can be an escape from any apocalyptic situation.
Background
First, (and there may need to be a trigger warning here) the show is framed as the “End Times.” They play R.E.M.’s song “It’s the End of the World as We Know It.” The set reflects some major devastation, and the sirens and lights are blaring outside (no, it is not “just OTR.”) An original opening monologue refers to the world being in ruins, but the players–the Fellowship of the Quill–bring an outlawed entertainment to get your mind off impending doom. “In Revelry there is Rebellion.” Wink.
Likely, Director Brian Isaac Phillips framed this play long before U.S. elections or the escalating war in Gaza. Things looked pretty bleak during Shakespeare’s times, too. From any impending winter to the edict outlawing the Catholic Church, politics, religious and social change was happening. Politics became personal. And there was also the plague.
Yet festivals and holidays could continue. Twelfth Night was written by Shakespeare to capture the spirit of the festive “Twelfth Night” after Christmas, where social norms were reversed, mirroring the play’s themes of disguise, mistaken identity, and chaotic love, all set against a backdrop of merriment and revelry. Pulling some of its story from an Italian opera, the play was first performed for the court around 1601 and publicly in 1602, according to scholars.
This production underlines the contrast between the needs of the body and this earth and the things that uplift you–such as true love.
The Plot
Twelfth Night is the story of a pair of shipwrecked twins, Sebastian and Viola. Viola, as a young woman separated from her brother, disguises herself as a man named Cesario to serve Duke Orsino. Orsino is infatuated with countess Olivia, and sends “Cesario” to woo her on his behalf. Olivia falls in love with Viola (aka Cesario) instead, leading to a web of mistaken identities.
Olivia also has two servants, the Puritan Malvolio and Maria, and a cousin, the drunken Sir Toby Belch who has a drinking buddy, Sir Andrew Aguecheek, and Feste the wise jester.
The Cast
The cast has a number of familiar faces and new ones. Courtney Lucien anchors the play as shipwrecked Viola/Cesario. She is earnest and has some very sweet moments with Orsino (Leraldo Anzaldua making his CSC debut). Jeremy Dubin is Feste and the Lead Player who presents the modern framework for this production. Feste is warm, wise, funny, and connects with all of the players–from countess to server, as Dubin connects well with the audience.
Over the top silly are Aguecheek (Cary Davenport) and Toby Belch (Geoffrey Warren Barnes II) who will certainly appeal to the middle school audiences. Barry Mulholland is a strict and austere Malvolio, who believes the ruse played on him, that his employer has fallen for him. He goes from dour and dominating to foppish. Candice Handy as Maria also transforms from the austere to the carefree. Elissa Levitt makes her CSC debut as Olivia, but is a Prague Shakespeare regular. She begins in heavy mourning, ignoring the advances of Orsino, but finally lets her inhibitions fly, delightfully flustering Cesario. Cameron Nalley makes his CSC debut as Sebastian showing appropriate strength and comic timing. Josh Morrison (CSC debut, but a Prague Shakespeare regular) provides a solid Antonio, who brings Sebastian to Illyria, where the play is set.
The Production Team
Twelfth Night or What You Will (the full title) is directed by Brian Isaac Phillips. You know you are in for a fast moving physical treat. Clothing (Costumer Rainy Edwards) is Shakespearean-adjacent, with many pumpkin breeches, but some bare skin and fish-net stockings showing as the “troupe” sets up they are playing for us.
Charlie Calvert’s Scenic Design immediately places us after some disaster, with concrete blocks and twisted rebar. A few odd vaguely European chairs. We are in a time of chaos. Avoid the end seats, as there are some sightline issues on the right. Abigail Fluck and Robert Carlton Stimmel are responsible for Lighting and bring brightness and alarm as needed. Many will also appreciate the projections, keeping us on track of Act, Scene and Location.
Rounding out the team is Gina Cerimele-Mechley providing Intimacy and Fight Direction. Shows with intimacy direction can really pull more heartstrings than those that don’t. The scenes with “Cesario” with Orsino’s head in “his” lap are just precious. Choreographer Susan Jung and Jeremy Dubin’s original music make for very appealing “production numbers.” “Mistress Mine” is a highlight of Act One. All of this is well coordinated by Stage Manager Cole Sweasy.
CSC’s First International Production
The show is presented in partnership with Prague Shakespeare Company in the Czech Republic. This entire production—cast, design, and all—heads to Prague for CSC’s first international collaboration with Prague Shakespeare Company. What an exciting time to be part of CSC. I predict it will be well received.
Overall
Twelfth Night is a bawdy, silly escape, which appeals to the romantic and middle schooler in all of us. This is a rich production, and the framing is exceptionally timely.
Ticket Information
- Box Office Link: https://cincyshakes.com/on-stage/twelfth-night
- Box Office Phone Number: 513-381-2273
- Show Dates: November 15 – December 7, 2024
- Run Time: 2.5 hours, including intermission
- Content Advisory: Contains Shakespearean innuendo
- Parking Information: CLICK HERE
- Refreshments: Adult and other beverages, small sweet and salty snacks are available to purchase
