Permalink to Theater Review: It’s Repeatedly Sunny in This Twelfth Evening

Theater Review: It’s Repeatedly Sunny in This Twelfth Evening


There are more than 100 thirty bios in the Playbill for Kwame Kwei-Armah and Shaina Taub’s musical adaptation of Shakespeare’s Twelfth Evening, now receiving a revival at the Public’s Central Park house, the Delacorte Theater, after its premiere there two years ago. “Holly Valentine has three cats named Sophie, Girl and Ellie,” reads one. “Benjamin Levine loves penguins, dances ballet and desires to be an astrophysicist,” says one more. Chloe Chen “loves her family, ingesting, pizza, and performing gymnastics,” and Ato Blankson-Wood — one of many production’s shrimp company of skilled actors, who performs the lovelorn duke Orsino — desires us to know that “we’re right here together. Merely now.”

That closing is the major thrust of the Public Works program, which has been rising vast, community-essentially based entirely mostly productions at the Delacorte for six years. Basically based in 2012 by the director Lear deBessonet, Public Works partners with organizations from in each place New York City — from sport and humanities training products and services to domestic workers’ unions and foundations for veterans — to build on enormous, festive productions with mostly beginner casts of exact a total bunch. Per the Public’s inventive director Oskar Eustis, this arrangement celebrates artistry as “an attribute of all other folks, not a capacity minute to an elite few.” The hypothesis is to make a make of inventive city-on-stage, a build the build “strangers turn out to be neighbors” and all people’s innate creativity is called upon to manufacture something together.

You reach at some level of that mini-metropolis as soon as you enter the Delacorte. Casually and colorfully dressed in an array of primaries and prints by Andrea Hood, a various company of dozens (the “crimson” or the “blue” ensemble of community individuals, reckoning on the night) mingles with target market individuals up on Rachel Hauck’s summery space, which feels enjoy a combination of a Mamma Mia–esque Mediterranean villa and the Jacob Riis boardwalk. With a face-painting desk, a rolling ice-cream cart, ushers chirping “Welcome to Illyria!” as they expend your ticket, and an onstage band playing jazzy background song beneath a striped tent, the production’s vibe is instantly obvious: It’s a family-appropriate sea experience birthday party, a day at the Rockaways without the sunburn and the unwell-told alcohol in water bottles. Every person on stage appears to be like to be having a large time, but though I usually accumulate such earnestness infectious — and, hi there, I dig a celebration! — I discovered myself spending prolonged parts of the following ninety minutes wondering why, no matter my staunch want to be swept up in the snarl’s satisfied shenanigans, my heart wasn’t slightly in it. What was as soon because it about this Twelfth Evening, for all its staunch faith and high spirits, that left me a shrimp high and dry?

a sister model of this same production contrivance) is a stout-fledged musical wherein the accepted’s space is preserved but its poetry is very much pruned. At simplest ninety intermission-less minutes, with heaps of added pageantry, the play’s fable of shipwrecked twins, lag-gender disguise, and the follies and fluidity of settle on remains intact — and, I have to pronounce, completely legible — but the heartbeat of its text is dulled considerably, chopped as much as fabricate room for songs rather then speeches. That’s the trick of a musical: When characters are at their most emotional, they quit speaking and launch belting. So if, enjoy me, you dart to Twelfth Evening expecting the transcendent spine-shivers of Viola’s “Invent me a willow cabin at your gate / And make contact with upon my soul within the house,” you’ll win a musical number as an alternative. And though Twelfth Evening is already one of Shakespeare’s more tune-stuffed comedies, right here you won’t hear the profound, surprisingly pleasing despair of the wise and tuneful fool Feste’s “O mistress mine” or “The rain it raineth daily” both.

As a replace, you’ll hear the work of Taub, a Public Works usual suspect whose mostly upbeat, at times soulful, and steadily witty tunes energy the production. Taub additionally performs Feste, right here a wry but suited master of ceremonies who rouses the Illyrians into tune with a squeeze of her accordion. Some songs are structurally suave, enjoy a solo of unrequited enjoy by Orsino (Blankson-Wood, who sounds beautiful and speaks what verse he has with feeling and precision) that turns staunch into a trio of misdirected affection with the countess Olivia (the fearless Nanya-Akuki Goodrich) and the page Cesario (he’s actually Viola-in-disguise, sung beautifully and performed with ardor by Nikki M. James). Varied numbers are terrifying stress-free, notably a kickline-backed fantasia of pissed off ego delivered by the pompous steward Malvolio (the gorgeous Andrew Kober) and a rile-’em-up battle tune, led by the drunken rascal Sir Toby Belch (the swaying, swaggering basso Shuler Hensley), that’s supposed to scare the socks off of Cesario and the cowardly knight Sir Andrew Aguecheek (Daniel Hall) as they put together for a duel. Musical blowouts enjoy these involve your total ensemble — these Illyrians are repeat and taking fragment in every step of the fable — and have all formulation of wacky Easter eggs, from bouts of arm wrestling to karate demonstrations, from proliferating yellow high hats (Hood deserves kudos for the sheer amount of costumes) to the dramatic loss of life of a stuffed raccoon felled by a misaimed, and mimed, arrow.

There’s a buoyant, throw-it-all-at-the-wall form of energy at work that at times is efficiently contagious. There’s additionally a lack of shadow, and it was as soon as this unshaded formulation to a play that, in its accepted make, contains deep and attention-grabbing lines of despair, thriller, and cruelty that I finally discovered myself balking at. All the pieces is explained on this Twelfth Evening, and all people gets the happiest imaginable ending. Why is Malvolio such a sensitive, sententious jerk? He was as soon as picked closing in heart-college soccer. Why does Viola, having realized that Olivia has fallen for her boy-make, capture to take care of Cesario’s swimsuit on? Because, as a man in a man’s world, she’s discovering her company: “Would I be ample in my have pores and skin?” sings James, “Why has this energy in me by no formulation been given a possibility? Is it as easy as inserting on a pair of pants? … Who am I moreover how I scrutinize to you?”

That’s a viable alternative for an actor playing Viola to pursue, but no matter the unusual fabric’s empowerment and self-discovery messaging, there’s something deflating in losing Shakespeare’s rich ambiguity. “O time!” says the accepted text’s Viola in the same mission, “Thou must untangle this, not I. / It's a ways simply too laborious a knot for me to untie.” Those words don’t fabricate the persona ragged or the actor unable to evaluate options about gender and company, but they attain dart away room for the target market’s imagination. We are in a position to’t know the total lot about these characters: They’re too deep, too human, too stout of shades, subtleties, and sorrows. Even Twelfth Evening’s clowns have their shadows, notably the alcoholic Toby — whose gruesome mean-toddle rears its head not simplest towards Malvolio but towards his supposed buddy, the foppish Sir Andrew — and the aloof Feste, whose humorousness is tied to his sense of destiny. He’s not above revenge when the “whirligig of time” brings it in.

But on this Illyria, valid cruelty isn’t on the desk, and so valid humor is regularly sacrificed. It’s not somewhat to disclose so, but the two are terminate cousins, and phase of the wiliness of Twelfth Evening is its investigation of that kinship. Why attain we laugh at losses of dignity, and when have the traces been crossed? A mission of celebration and inclusion needn't preclude complexity of declare, but right here the scales are tipped, producing a Twelfth Evening that’s unrelentingly tremendous. For a play saturated in unsafe excesses — of enjoy, of ache, of ego, of drink, of mischief — it feels, even in its admirable broadness of mission, a shrimp domesticated, a shrimp warm and fuzzy. While that may maybe presumably maybe also be the Twelfth Evening for some, in the Illyria that thrills and fascinates me, the rain it raineth daily — and in Central Park staunch now, summer showers aside, there’s nary a cloud.


Tags: #Night #Twelfth