Hilarity and Hijinks in HID's TWELFTH NIGHT

Twelfth Night may be one of Shakespeare's most perfect comedies.  Including music, romance, a fantastic cast of characters, jokes which are still relevant to modern audiences, mistaken identities, ridiculous lovers, drunkards, and fools, as well as some of Shakespeare's old standbys, including women dressed up as men, long-lost twins...all culminating in a pompous ass voluntarily wearing yellow stockings.

It's good stuff.

It's also the Shakespeare play that's perhaps best suited to performance by Hamlet Isn't Dead, a NYC theatre company that's making its way through Shakespeare's canon chronologically.

It's no wonder, then, that HID's take on Twelfth Night is a riotous night of theatre. 

With direction by James Rightmyer, Jr., HID's Twelfth Night is actually something of an increasing rarity in the company's approach to Shakespeare.  While HID has made a reputation on high-octane, music-infused, semi-irreverent approaches to the Bard, Twelfth Night's text is only cut sparingly and smartly.  (For example, the Sir Topas scene is spliced down to its basics, while the role of Fabian is split between Feste and Maria).  Rightmyer even allows his heroine Viola her full ring speech (compare the cutting of Hal's "I know you all" in Henry IV, or paring down Hamlet's famous soliloquies).  Even the modern asides which fans of HID come to expect are pared down - which may be a testament to how well suited this text is to HID's action, and HID's action to this text.

The cast is excellent, blending the various storylines together with equal energy.  Standouts among the ensemble include Mike Marcou as Sir Toby Belch, who manages to wring nuance and bonhomie in gleefully drunken measure.  Travis Klemm delights as Malvolio, carefully threading the needle of sympathy and contempt, all with a glorious command of the language.  (Special shout-out to Duke Norsworthy, the evening's drummer, who underscores the tricky to manage letter scene.)  Mike Luca, playing the twin Sebastian, gives perhaps one of the most credible performances of "This is the air" that I've seen.  While Cameron Silliman as Maria enters with energy and vivacity as the mastermind behind Malvolio's humiliation.

Taylor Harvey's Viola is earnest, Stephanie LaVerdera as Olivia leans into the Countess' vixen side, Rahoul Roy joins in the fun as the halpless Sir Andrew Aguecheek, Jordan Waters brings a swagger to his piratical Antonio, Justin Benett plays piano and three characters (the priest being a particular joy), and Joey Mulvey allows his Orsino an easily broken heart and perpetual moan that's a great take on the troublesome Duke.

Special notice should also be given to the band who remain on-stage almost the entire time, fronted by Maureen Fenninger's Feste.  The role of Feste is one of the great clowns ever written, originated by Armin for Shakespeare's troupe, and Fenninger nails the role, easily slipping between the tricky language and the trickster clown, all while belting out songs, composed by David Anthony Hentz and James Powers.  Kudos to Hentz, pulling triple duty as composer, actor, and musician, whose every eye roll behind an over-serious actor deserves a standing ovation.

Congratulations to the design team as well, including Michael Fleischer's fight direction, which is smart and clear, Alan Water's subtle lighting, and MVP Amelia Dudley's groovetastic costume design.

If there are flaws, and it's worth to note a few, they include some small gestures towards "no homo," which is difficult to overcome in the script, as well as some confusion as to whether Antonio is allowed to let his love be love for Sebastian.  Personally, I should have liked to have seen some new direction for the two traditional female leads who were left pretty much in virgin/vixen territory.  Similarly, while there was ethnic diversity, every person of color was in a supporting and not a leading role, while those with more curvaceous bodies were still relegated to mockable and not romantic positions.  Casting can be a tricky business, and we're all learning how to actively work against stereotypes.  Lastly, while this reviewer had an unobstructed view from the front, discussion with a few other audience members revealed that due to the theatre structure, sitting further back meant that a few things were lost on-stage.  So viewers who want a good seat may want to upgrade their ticket, or get there early.

HID was made for Twelfth Night.  And Twelfth Night was made to be performed by Hamlet Isn't Dead.  Get swept away.  Highly Recommended.

Twelfth Night runs through March 14 at The Center at West Park.