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Posts tagged ‘Malvolio’

“Twelfth Night” in the Park, Cast of Thousands an Amiable Mess


Productions of Shakespeare’s perennial gem of a comedy “Twelfth Night Or What You Will” boasts a cast of literally hundreds, who seem like thousands. Is it too much of a muchness? Almost. 

Directors Oskar Eustis and Kwame Kwei-Armah have taken what is the Shakespeare-in-the-Park’s most enduring positive, the audience, and put all and sundry onstage in the guises of many, many community groups from the Tri-State. It’s overwhelming and it almost overwhelms the play, but not quite. It’s Shakespeare’s best, just about, and seems to weather every storm that is tossed its way. In this case, crowds upon crowds of extras, some of them toddlers, some of them house-wives, all dee-lighted to be onstage at the Delacorte instead of just watching, lining up for hours for tickets and clapping madly.Who can resist a cast that also resolutely SIGNS the play, too? The most beautiful, transcendant moment for me was when an unnamed young, bearded, blonde man, got up and singly signed one of Shakespeare’s more poignant song poems. I wish he was given credit for that in the program. 

Also, because it was virtually the only quiet, thoughtful moment in this amiable, crazy-house of a mess.

There was no intermission. It was only 90 mins. and Shaina Taub’s average music did not send me. It made me long for the first time I saw “Twelfth Night” which was in an historic, traditional production at Stratford-upon-Avon in 1969, when I was in college in the Cotswolds, and young Judi Dench played Viola.

“How will this fadge?” I remember her saying til this day, enunciating Viola’s gender confusion. She’s disguised-as-a-boy Cesario, who everyone is falling in love with. Sir Donald Sindon was the wronged Malvolio, and his performance is awfully close to the present Park’s Malvolio, Andrew Kober, who is the only one of the vast ensemble to capture Shakespeare’s tone of comic absurdity just right.

I also enjoyed Nanya-Akuki Goodrich as an amply-figured Olivia, who is so distraught over her beloved brother’s recent death, she is followed around by a New Orleans jazz band, playing a funeral march every time she enters, black handkerchief in hand, copiously weeping. The tiny little high-heeled shoes that costume designer Andrea Hood has provided her with, ankle straps and all, make her teeter-totter between hilarity, despair, love and high fashion.

And Nikki M. James, a past Tony winner for “Book of Mormon” is quite fine as the business-suited Viola/Cesario. She’s not Judi Dench, but she’s owns the character in her own charming, petite way.Twelfth Night Park 5

 

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“Twelfth Night” on Bway ~ One of the Best I’ve Ever Seen!

How can I begin to describe the joys of the impossibly wonderful “Twelfth Night” now on Broadway? It’s simply one of the best productions I’ve ever seen IN MY LIFE!

The two-time Tony Award winning genius Mark Rylance is probably on his way to another award (or awards) for his astounding performance as Olivia in “Twelfth Night.” Not usually considered a memorable role in Shakespeare’s comedy, which is usually played, as always by a woman, and as a sort of wan, sad, elegant lady,who is mourning the death of her brother. Olivia is usually the straight person in a cast of characters who are off-the-charts loony.

And here the masterstroke is Rylance plays Olivia as the looniest toon of the lot. He seemed to be channeling Margaret Dumont of the Marx Brothers movies. His  love-struck Olivia becomes the absolute center of this production, and the play, too, and it seems absolutely right. AND HILAROUSLY so.

The audience, some of whom were seated on the stage, was absolutely getting EVERY SINGLE Elizabethan joke and laughing so much, it made this marvelous “Twelfth Night” the longest “Twelfth Night” I’ve ever sat through.

With a half-hour pre-show added, wherein you get to see the actors get into their costumes and make-up right on stage and the musicians tune up their authentic, period instruments, this un-cut version was heading to the four-hour mark. But I didn’t mind one bit. I was in theatrical heaven!

One always wishes, if  one is a bardolator, that one could travel back in time to Elizabethan England, and see just what it was that made Shakespeare so great. And the brilliant thing that Rylance and his director of many productions, Tim Carroll have done is that they are so exact in a replication of how this comedy of Shakespeare’s was probably done, you absolutely believe you are in Elizabeth’s England, and that you’re discovering this great play for the first time and finding it  to be one of Shakespeare’s most enjoyable. In the hands of Rylance and co., all of whom are on their Elizabethan A-Game, “Twelfth Night” really ranks among one of Shakespeare’s greatest.

It’s an absolute delight from start to finish. All four hours of it.

And we, the press, were warned off coming to see it last night, because the light-board failed, and so we were not going to see it as it was meant to be performed, I was told, by the worried press agent. I decided to go anyway. And we discovered, when we entered, the stage was flooded with candle-light!

And that just made it magical! We were time-traveling!

There did seem as the play went on to be more and more stage lights focused on it, so perhaps the lighting board was being repaired as the show went on, but they were all white or a very pale blue lights

But of course, Shakespeare’s King’s Players DID perform by candle light.

And the stage at the Belasco was full of candles. There were six or eight chandeliers that were dropping candle wax on the actors, and an upstage set piece with more and more candles on it. sort of in the shape of a Christmas tree. So the stage was ablaze with honey-colored light. Which had a warming, charming, and totally disarming effect, which was just right.

And all the female parts are played, as they were in Shakespeare’s time, by men. Rylance’s Olivia dominating every scene, as we watch the character go from a very demure, lady-like, mournful royal in widow’s weeds atop a small tiara,  to a hyped-up matron who is hiking up her skirts and losing her beads, as she falls head-over-heels in love with the young Cesario, who is really a girl Viola, dressed, in disguise as a page-boy. Rylance,who usually blows everyone off the stage, he is such a strong performer, but here he is matched quite evenly by the great Samuel Barnett as Viola, equally convincing as a man or a woman. Tony Nominee and Drama Desk Winner, Barnett will be familiar to Broadway audiences from “The History Boys” a few years back.

I knew he had greatness in him, and the promise he showed in “History Boys” comes to full fruition as this glorious beautiful Viola/Cesario, who matches Rylance’s antic, love-crazed Lady Olivia, beat for comic beat.

And he’s not blowing the great Stephen Fry off the stage as Malvolio. Oh no! Making his American and Broadway stage debut, Fry a major stage, film and television star in England is simply magnificent as Lady Olivia’s simpering steward.

Fry is a towering figure. He’s a huge man, and he makes Rylance’s Lady Olivia seem dainty by comparison.

Also, the large and bosomy Maria of Paul Chahidi, a maid servant of Olivia’s, who is also daintiness personified, as well as the mischievous mischief-maker, who sets much of the plays comic stratagems in motion. Chahidi and Rylance, who are both wearing floor-length gowns, move with such humorously mincing small steps they seem to be floating across the stage, or on roller skates! Hysterical!

The men, who actually play men in this cross-dressed production are at a kind of comic disadvantage, you’d think, against Rylance’s Olivia, Barnett’s Viola, and Chahidi’s Maria(or Mariah or Mary as she’s variously called), but Rylance has wisely peopled the supporting cast with very strong character actors who are as funny as the “women.”

Colin Hurley is a pint-sized Falstaff as Sir Toby Belch, who has to play all manner of drunkeness throughout, and his extremely tall co-hort Sir Andrew Aguecheek is perfectly matched by Angus Wright. Sir Toby, Sir Andrew and Maria form the toxic trio of tormentors who want to bring down  the supercilious steward Malvolio, leaving a letter supposedly from Lady Olivia that tells him “Some are born great, Some achieve greatness, and some have greatness thrust upon them.”

Well, “Twelfth Night” itself is having greatness thrust upon it by this astonishing, laugh-riot of a production. Sub-titled “Or What You Will,” which is the Shakespearen equivalent of saying “Whatever”, or “This play is just a trifle. Don’t pay any attention to it. Don’t take it seriously.” And “Twelfth Night,” or as the bill-boards are spelling it “Twelfe Night,” was a name just tacked on to it at the time, because it was performed for Queen Elizabeth I as part of the twelfth night after Christmas celebrations. As if Shakespeare didn’t know what to call it.

The words “Twelfth Night” are never mentioned throughout the play. But I did catch, I think it was Viola saying “What You Will”.

This historic production is a dream come true, and is thrusting a greatness upon “Twelfth Night” as one of the best comedies ever written. It will now always be referred to by all who attempt to match this magic. It’s an impossiblity.

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