I admit I am not much of a critic. I know what I like, and honestly I like just about everything, so don’t expect your standard, everyday review of the Oregon Shakespeare Festival’s Twelfth Night.
I further admit that for me Shakespeare has too often just been words on a page – a cognitive exercise in appreciation of the work of one of the world’s great writers of the English language. In reading the words on a page I can appreciate both the talent it took to write them and the heart of the matter that the words speak to.
But it is not until you see these words brought to life on the stage that you can really appreciate the writings of William Shakespeare. Of course the Oregon Shakespeare Festival (OSF) in the city of Ashland has been bringing the bard to life for more than 80 years, but its production of Twelfth Night is extraordinary.
Twelfth Night is the story of Illyria, a topsy-turvy place full of romantics and eccentrics. At least that’s how it seems to Viola, who’s been cast adrift in this merry world. Out of necessity, she disguises herself as a boy but quickly becomes an object of desire to the woman her employer sent her to woo.
Time eventually sorts it all out, but not before Viola and everyone around her are bewitched, bothered and bewildered as they traverse the often contradictory landscapes of their hearts. (At left, Toby Belch [Daniel T. Parker] and Feste [Rodney Gardiner] test the patience of Malvolio [Ted Deasy, center].)
One of the things that sets this production apart from the “standard” delivery of Twelfth Night is that it has been updated to 1930s Hollywood, with the play set at Hollywood Land’s Illyria Studios.
This review is not about the acting – it does not need to be as it is strong enough across the board to carry the 2½-hour production. This staging of the play brought a new level of understanding to the fabled story thanks to both the cast and to production values that take advantage of modern technology in the telling of this story.
OSF director Christopher Liam Moore and really the entire production team deserve credit for effectively integrating rear-screen projection into the production, which helps to tell the Shakespeare’s story but does not take away from the power of his words.
The first thing that I noticed and which made this production a bit different is that the entire play is one long choreographed set. Characters move in and out of a scene like chess pieces in a grandmaster contest. Their moves are intricate and complex but are carried off smoothly and add a level of visual variety to the production that improves the storytelling power of the play.
As mentioned earlier, the OSF production brings a level of life to the drab pages of a manuscript, with each of the actors adding their own interpretation of the character, so that in the end we in the audience know these individuals as our own intimate friends.
Furthermore, it is quite obvious that these actors all care greatly not only about the words of Shakespeare as well as their love of their craft, but they also love each other. This affection shines through in the production, and is yet another reason that this performance totally won the audience and brought with it a standing ovation.
While everyone in the cast has a level of talent that is beyond my comprehension – nearly all members of the cast can not only act (as opposed to delivering lines from a script) but they also can sing and dance.
Most impressive to me is Rodney Gardiner in the role of Feste. Feste is the Fool or Clown of the production, and he weaves his way through the play helping to explain the story to the audience. Mr. Gardiner is quite impressive in this role not only for his characterization of Feste, but for his significant talent both as a singer and dancer.
With 1930s Hollywood as the backdrop for this telling of Twelfth Night the show’s finale pays homage to Busby Berkley, the Hollywood director of elaborate musical productions of the era. It is a wonderful ending to a wonderful telling of the story.
In this year that celebrates the 400th anniversary of the Bard’s passing, I am sure that this production would bring a smile to his lips. I know it did to mine.
Note: Twelfth Night will run through October 30, 2016 at the Angus Bowmer theatre on the OSF campus. In 2016 the company will produce 11 plays, including three that will be delivered in the outside Elizabethan Theatre beginning June 7. More information can be found at OSF.
photo: Toby Belch (Daniel T. Parker) and Feste (Rodney Gardiner) test Malvolio’s (Ted Deasy, center) patience. Photo by Jenny Graham, Oregon Shakespeare Festival.
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