 (Photo by George Vogel)
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Directors of Shakespeare's plays must be running out of locales and time periods in which to set the Bard's much loved, frequently produced romantic comedy Twelfth Night. A popular recent teen movie "She's the Man," featuring TV star Amanda Bynes, turned Shakespeare's female protagonist into a dedicated soccer player who disguises herself as a boy in order to get on the team at her new prep school. (This may not sound much like Twelfth Night, but the movie does follow most of the entertaining twists and turns of the original.)
Among hundreds of other "inventive" conceptions of the play over the past 400 years, Twelfth Night (subtitled What You Will) was, in 1968, the basis for an ill-conceived rock musical, "Your Own Thing," and Princeton Rep Company's previous Twelfth Night (1999 in Palmer Square) was set in 1929 New Orleans with a Dixieland Jazz musical background. And now, in a production running at Pettoranello Gardens through August 27, Shakespeare's Illyria is on the coast of Maine, and the time is the 1960s.
The good news is that: 1) Princeton Rep, which launched its Shakespeare Festival ten years ago and is in its fifth season at the beautiful open-air theatre at Pettoranello Gardens, takes its Shakespeare seriously, even with the most extravagant of Shakespeare's comedies, and delivers the magical language with understanding, authority and few adaptations; 2) the genius of Twelfth Night — its comedy, its romance, its humanity, its poetry — is durable and universal. With skilled performers and intelligent direction, the greatness of the play prevails and continues to win over audiences.
Victoria Liberatori, Artistic Director of the Princeton Rep Shakespeare Festival and director of this production (and of Princeton Rep's 1999 Twelfth Night), has assembled a strong, professional, mostly New York City-based company of 12. She has rehearsed them with care, attended carefully to details of character and plot, and kept the multiple scenes flowing smoothly on Timothy J. Amrhein's colorful, detailed, yet simple and efficient unit set.
Diction and projection here are excellent, even when in competition with the crickets and other outdoor distractions. Some actors are clearly more experienced and comfortable than others in delivering Shakespeare's 400-year-old language and his often richly complex poetic lines, but the performers understand these lines and characters and communicate their understanding with energy and clarity.
The 1960s setting prompts just a few modifications in language (It's been a while since I heard the word "groovy" or referred to police officers as "fuzz"!), and an engaging, high-spirited assortment of mostly familiar '60s rock music (sound design and some original music too by Adam Gwon). It also gives costume designer Amy Bradshaw the opportunity for some colorful and creative extravagances — most notably with the hippie, guitar-playing Feste.
The fact that this is supposedly the Maine coast accounts for a high platform/wharf on stage left, a small flat-bottomed boat on a sandy beach downstage, and an assortment of paddles, fishing nets and lobster pots, but perhaps more significant to the overall experience are the natural beauties of the setting in the Pettoranello Gardens.
Written in 1600-01, Twelfth Night, celebrating the spirit of revelry, disguise and misrule that prevailed on the last night of the Christmas season, is a transitional play in Shakespeare's canon. It follows Shakespeare's other great festive comedies and immediately precedes the Hamlet and the other great tragedies. Amidst the mirth, passion and romance of Twelfth Night there are strangely discordant notes, most conspicuously sounded by Feste (Marty Keiser), in his often ambiguous, bittersweet songs and quips.
Twelfth Night will run through August 27, Thursdays through Sundays with performances at 8 p.m. in the Pettoranello Gardens Amphitheatre. Call (609) 921-3682 or visit www.princetonrep.org for information.
Feste, the wise and melancholy Fool, is ironically the only sane person in this world of mistaken identities, self-indulgence and misguided passions. A large clock, upstage center accentuates the play's constant concern with the passage of time, the need to take advantage of the joys of youth, the ominous forebodings of what lies ahead — though this production does not always give the serious undercurrents in this play their due amidst the more obvious attractions of Twelfth Night's high romance and wild humor.
Twelfth Night is the story of twins, Viola (Courtney Munch) and Sebastian (Michael Benjamin), separated in a shipwreck. Cast on the shores of Illyria, Viola disguises herself as a young man and becomes a messenger for the proud, lovesick Duke Orsino (Eric Alperin). Viola's disguise causes numerous complications when she falls in love with Orsino and the countess Olivia (Vivia Font), unresponsive object of the Duke's affections, falls madly in love with her.
Meanwhile, in Olivia's household, the priggish, self-important Malvolio (Donald Kimmel) tries in vain to suppress the drunken antics of the unruly Toby Belch (Kenneth Cavett) and the foolish Andrew Aguecheek (Ehren Ziegler), another suitor for the hand of Olivia. Feste and Olivia's resourceful gentlewoman Maria (Katie Northlich) help Toby and Andrew in their undoing of Malvolio; and Sebastian, aided by his seafaring friend Antonio (Chris Osander), finds his way to the Duke's court, as the multiple plot strands interweave in a dazzling climactic scene of recognition and resolution.
Mr. Kimmel, a seasoned Princeton Rep veteran with an impressive list of stage, screen and TV credits, threatens to steal the show as the self-absorbed, deluded and abused Malvolio. In movement, gesture, phrasing, intonation and attire he deftly creates this character, wonderfully detailed in his eccentricities, whose comeuppance we, along with the other characters in the play, love to watch.
Mr. Keiser's Feste is another memorable characterization. Interacting with sensitivity, insight and always that edge of irony in his confrontations with the other characters in the play, Mr. Keiser successfully communicates many of the most perplexing lines of the play, delivers in '60s style several captivating songs, and carries off the hippie troubadour with flair and conviction. He could certainly be on his way to Woodstock 1969 in his colorfully ragged jeans with his psychedelically decorated guitar case, his frilled leather vest, headband and rose-colored glasses.
Ms. Munch, as the central figure Viola, is clear, thoroughly sympathetic in winning the audience's participation in her plight with its increasing entanglements and even quite plausible in her cross-gender disguise. Ms. Munch and her counterparts are especially effective in exploring the play's gender confusions and suggestions of homosexuality, as the disguised Viola negotiates her amorous interactions with Orsino and Olivia.
Also highly engaging, but less convincing in overall characterization, are Mr. Alperin's Orsino and Ms. Font's Olivia. Yes, the play is certainly all about the irrationality of romantic love, but it's difficult to imagine how Viola could possibly fall in love with this silly, overly emotional, narcissistic Duke. Ms. Font exudes the requisite energy, beauty and range of emotions, but she too at times emphasizes comedy at the expense of character and has a tendency to throw away occasional lines. Olivia, in mourning for her dead brother, uninterested in the offers of various suitors, then suddenly swept away in love for the disguised Viola who will never requite her affections, finds herself in a potentially heartbreaking predicament, but it is difficult to take this Olivia seriously, much less to sympathize with her.
The constantly carousing Mr. Cavett, Mr. Ziegler and Ms. Northlich are effective in promoting the prevailing spirit of joy and misrule ("Care's an enemy to life." "Dost think, because thou art virtuous, there shall be no more cakes and ale?") and counteracting the Puritanism of Malvolio. Mr. Benjamin's Sebastian seems a minor player compared to his sister, but presents some memorable moments when he surprisingly appears in the final scenes. Mr. Osander creates an appropriately strong, steadfast Antonio, especially clear and on target in communicating the worthy sea captain's lines and emotions. Swann Gruen and Daniel Marmion are dependable in supporting roles.
In bringing out the wonders of Shakespeare's comedic masterpiece, Ms. Liberatori has cast wisely, made only a few minor cuts, directed with savvy and imagination, and provided an entertaining evening with some excellent performances and first-rate production values throughout.
Apparently scheduling conflicts between the Princeton Rep Shakespeare Festival and the Princeton Borough and Township Joint Recreation Board forced the cancellation of last summer's productions, but it is gratifying to see the revival of this worthy tradition. Princeton Rep continues to maintain the highest standards, and I can't imagine a better setting for reveling in the delights of Shakespeare's timeless visions.
Princeton Rep's production of Shakespeare's Twelfth Night will run through August 27, with performances at 8 p.m. Thursdays through Sundays at the Pettoranello Gardens Amphitheatre at Route 206 and Mountain Avenue. Admission is free, but donations of $10 are suggested and space is limited. Call (609) 921-3682 or visit www.princetonrep.org for further information.