Frog and Peach Theater’s latest effort suffers from some production issues: Lights dim to black at unintended times, the guitar used in some of the songs is badly out of tune. What it lacks in technical smoothness, though, Twelfth Night more than makes up for in talent, enthusiasm and commitment. A rarity in the world of off-off Broadway Shakespeare, every one of the show’s fourteen players is well cast and confident on stage. Although their approaches and training are clearly different, the actors mesh into a tight ensemble under Lynnea Benson’s brisk direction. They all exhibit a remarkable facility for the Bard’s phrasing, so much so that, especially in its more farcical beats, the text often feels as if it could have been written today.
The visual concept is a kind of eclectic mix of contemporary street clothes, retro 20th century bangles and classical attire. It works for the play’s setting, a fantasy realm known as Illyria. Presiding over this mythic kingdom is Duke Orsino (Erick Gonzalez). The suave nobleman loves sultry-eyed Lady Olivia (Amy Frances Quint), but can’t seem to shake her out of her depression. Olivia is in mourning for her brother and father. Complications ensue when a young Viola (Jane Cortney) washes up on Illyria’s shores after her ship is destroyed by a storm at sea. Believing - erroneously - that her twin brother Sebastian has been killed in the shipwreck, Viola dons male drag in order to put off any would-be attackers. Adopting the alias Cesario, she soon finds herself in the employ of the Duke. At the top of her to do list is a challenging assignment: she must wend her way into the palace of Olivia and deliver Orsino’s love letters. Olivia assumes - erroneously - that “Cesario” is wooing her for himself, and she begins to fall in love with “him”. Viola’s troubles are doubled by the fact that her own heart has been captured by the Duke. Meanwhile strapping Sebastian (Brando Boniver), believing - erroneously - that Viola has drowned in the shipwreck, makes his way around Illyria with the help of the Duke’s former enemy Antonio (Mark Sage Hamilton).
Into this already thick minestrone of plot elements, Shakespeare tosses in a few embroilments of a more comedic nature. Party animal Sir Toby Belch (Jonathan Marballi), and his nerdy friend Sir Andrew Aguecheek (Michael Broadhurst) are constantly drunk and up to mischief. Also on hand is Feste the clown (Eric DySart) and Toby’s gal pal Maria, who has a genius for ruthlessly elaborate pranks. After a few swordfights and pratfalls, the last act ties these multicolored threads together. Erroneous assumptions are corrected, families are reunited. Newly ignited romantic passions are put to good use as all are paired with appropriate partners. All, that is, except for Olivia’s uptight steward Malvolio (Lenny Ciotti), whose Puritanical ways make him an easy target for ridicule.
Benson smartly infuses the revelers’ buffoonery with a contemporary comic sensibility, proving that in the right hands Shakespeare can be laugh-out-loud funny. The play’s songs are set to Ted Zurkowski’s original music which, in keeping with this irreverent spirits, skewers everything from Broadway musical to alternative rock. Comic timing, though, is not the only treat on the menu here. The evening’s subtler and more heartfelt scenes are no less adroitly handled than the lighter notes. Olivia’s slow sensual awakening and the miraculous reunion of the lost siblings are played with touching authenticity. The show offers living proof that young actors can handle Shakespeare - and not by imitating the Brits, but by forging their own fresh interpretation. The technical problems, though, should be attended to forthwith. These delightful performers deserve a glitch-free venue.
Twelfth Night; Written by William Shakespeare; Directed by Lynnea Benson; Frog and Peach Theater Company; West End Theater; 263 West 86th Street, Floor 2; New York, NY 10024; (212) 866-4454.
