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Having run off and on since 1997, Shakespeare Carolina has provided Carolina audiences with classic theatre, including last year's productions of The Taming of the Shrew and Hamlet (both performed at Theatre Charlotte). This year they are back (again at Theatre Charlotte) with a production of the bard's most famous gender-bending comedy, Twelfth Night. Once again, we are given a thoroughly enjoyable evening that makes Shakespeare's sometimes difficult language crystal clear.
Running at a brisk two hours, this production speeds through the story of Duke Orsino's pursuit of the Lady Olivia. Unfortunately, Olivia is still deeply in mourning for both her father and (more recently) her brother. Meanwhile, a ship wreck separates twins Viola and Sebastian. Viola, thinking her brother is dead, disguises herself as a man in order to serve Duke Orsino. It is in this position that both Orsino and Olivia fall in love with Viola.
The magical kingdom of Illyria is suggested simply by stacked platforms and wooden cubes. The simplicity of the staging is effective enough and does not detract from the magic of the story. In fact, it is when this production keeps things simple that it is most effective.
I was impressed with the comic lunacy of last year's production of Taming of the Shrew; Twelfth Night takes that lunacy even further and to even better effect. Featured in the play are Colby Davis, who plays the incorrigible clown Feste; Tom Ollis, who portrays the partying drunkard, Sir Toby Belch; David Loehr as the mincing would be suitor to Olivia, Sir Andrew Aguecheek; and finally the earthy Karen Surprise, who plays Lady Olivia's servant. It is this quartet that drives the energy and comedy of this production. The musical numbers are particularly inventive!
Also especially strong in this production are the performances of Carrie Anne Hunt as the cross-dressing Viola/Cesario and Iesha Hoffman as the Lady Olivia. Hunt is charming and plays both boyish charm and feminine wiles equally well. Hoffman is a joy to watch and commands every scene she is in.
In contrast, Jimmy Cartee as Orsino is an unusual choice for the role. With glasses on and a humorous, almost nerdy Woody Allen-like demeanor, it is a different take on the lovestruck duke than I am used to. He's not given a lot of time to establish this portrayal, so it was difficult to decide if it worked or not.
Similiarly, Joe Mertes as the other half of the twins is one of the more problematic actors in the play. Though he looked every inch the romantic lead and has a wonderful voice, his habit of pausing before many lines made it difficult to determine if it was for dramatic effect or a problem with memorization. (I saw this production in the first week and it's possible some of this will have improved in later performances.)
Though both the lighting and scenic design are simple and effective, I did feel the costuming seemed overdone. I would have liked to see the elegance and simplicity of the set mirrored in the costumes. I question, in particular, the fact that the twins are not really costumed similarly despite the fact the script mentions on more than one occasion that they are wearing nearly identical outfits. I am more than willing to suspend my disbelief (and happily) but when the “twins” have nearly a foot's difference in height between them and are not dressed similarly at all, it is difficult to understand why anyone would confuse the two—especially, and here's a big SPOILER to follow—Olivia marries Sebastian because she thinks he is Cesario.
All in all, despite these minor quibbles, I strongly recommend this production. It's truly one of Shakespeare's more enjoyable comedies and it's well-realized here. One of the strengths of Shakespeare Carolina's productions is that the clarity of the play is stressed and even those unfamiliar with his work should be able to follow the plot and enjoy it. It's important to support companies such as this, and I hope the crowds continue to grow. Review by Tim Baxter-Ferguson
Tim Baxter-Ferguson is an associate professor of Theatre at Limestone College and Chair of that program. He is a resident playwright at Theatre Charlotte and has had his plays produced throughout the United States and Canada.