Collegiate Times

Thrust into relative modernity with “Twelfth Night,” the theatre department’s latest production by director Greg Justice that capitalizes on the bawdy humor of the play without denigrating the signature elements of Shakespeare’s comedy.

Certain aspects are heightened to often hilarious effect: The fool, Feste, lip syncs to Ella Fitzgerald while strutting around in eye shadow and high heels; Malvolio, the sycophantic puritan tricked by Sir Toby Belch and other denizens of Illyria, ends up more the fool in cross-gartered yellow fishnets, accentuated by a frilly pink corset.

The stage reflects these colorful additions by having a rainbow of wires stretch from stage to ceiling, the entanglement of them above the audience’s heads, reflecting the encounters of characters in the play.

At a nimble two hours and six minutes, with a 10-minute intermission, the production flew. 

The double-entendres and thicket of language are made accessible for the collegiate audience by the aptitude of the actors: Andrew Keller’s portrayal of Sir Toby Belch, drunkenly swaying from the wires mentioned and swigging from bottles of ale was cause for some of the largest laughs from the audience. Keller was convincing enough for the audience to think he was actually inebriated.

The expressions and flailing limbs of Stephanie Ramsey, who plays Viola/Cesario,
conveys the discomfort of her gender-bending character excellently. 

Orsino, now with frosted blonde hair, has just the right touch of unknowing arrogance, and Olivia switches between haughty countess and vixen with dexterity.  

Those examining the fidelity to the Bard’s plot and language won’t be disappointed either. 

The relationship of brother and sister Sebastian and Viola, and their confusions with identity, is lucidly portrayed and easily understood by the audience.

The disintegration of Malvolio’s character transitions from comedic to tragic, and the intensity of his vow to be “revenged,” is felt in Jordan Goldston’s roar. 

Although the play succeeds in comedic effort, the pathos of melancholy under the surface might be undersold here. 

In the text, Feste ends the play on a song concerning “the wind and the rain,” and the production focuses on the celebration of the twelfth night of Christmas.

For that minor misgiving, however, the cast and crew succeed in making this a vital, swift and, most importantly, entertaining production. 

Even if you aren’t the biggest fan of Shakespeare, this one’s well worth the dollars (or ducats) for admission. 

A version of this article appeared in the Nov 9 issue of the Collegiate Times.