TWELFTH NIGHT

Review by Celia Ipiotis

Finally, the Public Theater reopened their citywide gem, Delacorte Theater in Central Park, for throngs to revel in their venerable program: Free Shakespeare in the Park. Celebratory sensations infiltrate the grounds at 81st Street and Central Park West and as you get closer–picnic baskets, bottles of wine, baguettes and cheese become visible. The newly revitalized Delacorte updated its restrooms–and unless you remember the former stalls, you don’t know the thrill this delivers. Theater seats are also wider and more comfortable, flanking a sturdier staircase.

But the real draw — and I’m not talking racoons–is the on-stage cast performing Shakespeare’s Twelfth Night directed with spunk and wit by Saheem Ali. On  this glorious summer night, the enormous cast of 20 toy with the wicked comedy’s lovelorn couples, gender mix ups, and naughty shenanigans.

By concentrating the play into a two hour, intermissionless production, clarity is gained while some poetic language is lost as are the people shipwrecked in Illyria. Lights come up on a Hollywood landmark-sized sign  WHAT YOU WILL while a pleasant string quartet is secured in a pool of light designed by Bradley King on the far side. 

Caught in a wild storm, the ship carrying Viola (Lupito Nyong’o) and her brother (Junior Nyong’o) wrecks. A captian rescues Viola (Lupito), who is swept ashore and fears her brother has perished. Viola addresses the kind captain in Swahili, thus underscoring her “foreigness.” Determined to infiltrate the city, she dons men’s britches, assumes the persona of a page and makes her way into the service of Duke Orsino. Delighted by the soft skinned young man, Orsino (Khris Davis) hires “Cesario” (Lupito) and bids him take a love note to the widowed Countess Olivia (Sandra Oh). 

Constantly batting away lovelorn notes from Duke Orsino, the Countess is suddenly smitten by the desirable young page. Olivia’s desire activates a frenzied relay of notes carried by Cesario who haplessly falls in love with his boss, Orsino. 

Back at the Countess’ quarters a prank of ludicrous proportions is being hatched by the consistently inebriated Sir Toby Belch (John Ellison Conlee), the goofball, Sir Andrew Aguecheek (Jesse Tyler Ferguson), Olivia’s servant Maria (Daphne Rubin-Vega) and the Fool, Feste (Moses Sumney). They plot to unhinge the pompous head of household Malvolio (Peter Dinklage).

Through a forged note, the already susceptible Malvolio believes Olivia secretly loves him. In the note she urges him to wear particularly outlandish outfits and smile whenever in her presence.  Naturally, when Olivia next spies Malvolio, she’s appalled by his outfit and convinced he’s lost his mind, allowing Malvolio to be put in the care of his tormentors.

This episode plays out with considerable wit and physical aplomb. Despite his preening and sycophantic ways, Dinklage retains the audience’s sympathy when he’s simultaneously duped and punished. 

On the other side of the island, Sebastian (an excellent Junior Nyong’o) emerges, saved by the magnanimous Antonio (b). By placing Viola’s twin within viewing distance of Olivia, the play secures one of its most comedic moments. Decidedly pleased to be wooed by Olivia, Sebastian (mistaken for Cesario) gleefully succumbs to her amorous entreaties and flash marriage — in fact, Olivia basically meets him, and in a blink, appears breathless in a white wedding gown and priest in tow. 

An additional highlight finds Aguecheek engaged in a boxing match first with Viola (more like air boxing) only to suddenly face Sebastian and the near fatal pummeling. Ferguson can always be counted on to be hilariously unmoored by his own discombobulated fluster. An additional enchantment perfumes the air when Feste performs songs composed by Michael Thurber. 

Logistically, the only problem not fully solved by Saheem Ali revolves around the staging. Performed in the round, the majority of the time, those seated on the right side of the stage were treated to actors’ backs.

Of course, all the loose ends are tied into a “feel good” bauble at the end of Shakespeare’s comedy. And the generous cast fills the evening with humor and folly, love and reconciliation. All things we long for at this time.

EYE ON THE ARTS, NY — Celia Ipiotis