Loving in Illyria

Twelfth Night–at Writers Theatre

Loving in Illyria

There’s a lot of loving going on in the exotic fictionalized, coastal Kingdom of Illyria. Set during the close of the Christmas holiday season, Shakespeare’s comedy of trickery, mistaken identities and cross-gender disguises is a lighthearted love story launched, strangely enough, by a tragic shipwreck. Twins Sebastian and Viola, unbeknownst to each other, both survive the storm. Once on land, the siblings become separated. Viola, believing that her brother has drowned, dresses as a youth in order to survive in a man’s world.

Disguised as a young man, Viola takes the name Cesario, and he soon becomes a trusted servant to Duke Orsino. The Duke has convinced himself that he’s in love with the wealthy Lady Olivia. However The Countess is in mourning for her late father and brother and isn’t interested in romance with anyone. But when Viola, disguised as Cesario, shows up at her door with a message from Orsino, Countess Olivia immediately becomes infatuated with the young man. Now, she begins to reject Duke Orsino’s advances with even more fervor, because she believes she’s in love with his servant. Ironically, Viola has fallen in love with her master, Duke Orsino. So, this holiday season in Illyria is made even more fun by a love triangle.

The comic subplot involves several of the minor characters trying to trick Malvolio, Olivia’s pompous head steward, into thinking that she’s secretly in love with him. These conspirators include Olivia’s bawdy and flatulant uncle, Sir Toby Belch; Sir Andrew Aguecheek, one of Toby’s friends and a silly suitor of Olivia’s; Maria, Olivia’s articulate gentlewoman; Fabian, another servant who, in this production, is a woman; and Feste, a melancholy fool in Olivia’s court.

Writer Theatre’s Artistic Director, Michael Halberstam, guides  this lighthearted production, swiftly moving the story along, yet taking the necessary time to linger, when necessary. He extracts some excellent performances from his cast, especially the always terrific Sean Fortunato, as a fully, three-dimensional Malvolio. Most actors choose to play this character as a one-note buffoon; Fortunato shows us all the layers within this man. His yellow stockings and cross garters are very funny, along with the actor’s bizarre accompanying mannerisms. But when he discovers he’s been duped by his so-called friends, Malvolio becomes a sadly disappointed, almost tragic, figure.

Both Andrea San Miguel and Matthew C. Yee are terrific as Olivia and Orsino. Again, these are accomplished actors who have always proven to be superb in every role they’ve played; but Halberstam has brought out an even finer performance from them portraying two headstrong monarchs. Rather than wearing their titles, like costumes, Both actors show us their honest, emotional, human vulnerabilities. Scott Parkinson, whose appearances in countless classical dramas, proves that he’s an accomplished actor with whom to be reckoned. But Parkinson’s Sir Andrew Aguecheek is probably the finest portrayal of this hilarious, self-centered suitor ever seen. Aided by multi award-winning costumer, Mara Blumenfeld’s deliciously delectable  costumes, Parkinson is nothing less than one of the main reasons to see this production.

There’s a great deal of additional fine technical support behind this production, as well, making it a feast for both the eye and ear. William Boles’ Mediterranean scenic design is as authentic-looking as it is romantic. It features sun-bleached stucco walls, windows that look out onto the deep blue Adriatic Sea and a practical, water-filled fountain, into which coins are tossed. Theatergoers will almost think tropical ocean breezes are blowing on them. John Culbert’s solar-drenched lighting bathes everyone and everything in sunny delight. And Josh Schmidt completes the artistry by creating a sumptuous sound design with original music that fully enhances this production. All of this is, of course, merely icing on the cake. But it reminds us that this play is, after all, one of the Bard’s brightest and most buoyant of all his comedies, and a great alternative choice for the holiday season.

Highly Recommended

Reviewed by Colin Douglas                     

Presented November 7-December 16 by Writers Theatre, 325 Tudor Court, Glencoe, IL.

Tickets are available in person at the box office, by calling 847-242-6000 or by going to www.writerstheatre.org.

Additional information about this and other area productions can be found by visiting www.theatreinchicago.com.