If Music Be the Food of Love…

Twelfth Night

The Summer has come and gone, Halloween has passed on and now the cold, wintry winds are blowing. It’s the perfect season for a holiday in the warm Caribbean isles. Guest director Tyrone Phillips, a first-generation Jamaican American and Chicago artist of many talents, has reimagined William Shakespeare’s perfect comedy set on a tropical island. And, taking his cue from the play’s opening line, “If music be the food of love, play on,” Mr. Phillips has filled his spectacularly colorful, comic production with a generous amount of song and dance. And love, don’t forget love, which seems to be everywhere for every single character. 

Set in the exotic coastal Kingdom of Illyria there’s a good deal of trickery, mistaken identities and cross-gender disguises and practically unrequited love. This often raucous comedy is launched, strangely enough, by a tragic shipwreck during a savage Caribbean storm. 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 Duke Orsino’s most trusted servant. The Duke has convinced himself that he’s in love with the wealthy Countess Olivia. However the lady 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, the holiday season in Illyria is made even more fun by this love triangle.

A hilarious and entertaining 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 uncle, Sir Toby Belch; Sir Andrew Aguecheek, one of Toby’s friends and a silly suitor of Olivia’s; Maria, Olivia’s articulate waiting gentlewoman; Fabian, another servant; and Feste, a melancholy and musically gifted fool in Olivia’s court.

Talented, enthusiastic director Tyrone Phillips skillfully guides this priceless production, swiftly moving the story along, yet taking the necessary time to linger over details, musical interludes and plenty of comedy. He extracts some excellent performances from his cast, especially the shining, sonorous and side-splitting  Paul Oakley Stovall, as a magnificent Malvolio. While many actors play this character simply as a fool; Mr. Stovall shows us many 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 the brilliant Christiana Clark (“the ripple, the wave that carried me home” at the Goodman) and Yao Dogbe (“Intimate Apparel” at Northlight) are excellent as Olivia, the Countess who’s in mourning, and Orsino, the Duke of Illyria. Again, very accomplished actors who prove to be skilled and memorable in every role they’ve played. However, Mr. Phillips has extracted even finer performances from these two actors who are both portraying a couple of headstrong monarchs. But instead of  wearing their titles like costumes, both actors show us their honest, human vulnerabilities, while still mining every single comic moment. 

As Sir Andrew Aguecheek, Alex Goodrich, a true Chicago treasure, is a gifted, Jeff Award-winning actor who’s appeared in countless musicals and comedies all over Chicagoland. Once again he proves at Chicago Shakespeare Theatre that he’s an accomplished, multitalented comic actor. Mr. Goodrich’s Sir Andrew Aguecheek is possibly the finest portrayal of this hilarious, self-centered suitor I’ve ever seen. Enhanced by the deliciously delectable costumes designed by Christine Pascual, Alex Goodrich is one of the main reasons to see this production.

But there are so many others. Jaeda LaVonne, seen recently in Raven Theatre’s “The October Storm,” is absolutely brilliant as Viola, the shipwreck young lady who disguises herself as a man in order to survive. Eloquent and passionate, she becomes Cesario, Duke Orsino’s favorite manservant, who is secretly in love with her master. Justen Ross does a fine job portraying her twin brother, Sebastian. Perky Danielle Davis is simply delightful as Olivia’s sexy, spirited and fun-loving waiting gentlewoman, Maria.

Israel Erron Ford makes a smooth, Otis Redding-inspired Feste, the Fool. He tenderly holds the audience in the palm of his hand as he croons songs like “Try a Little Tenderness,” along with many  other musical melodies. Ronald L. Conner, a familiar face on almost every Chicago stage, returns to CST in the role of Olivia’s uncle, that roguish mischief-maker, Sir Toby Belch. Roberto Mantica is excellent as both Curio, Orsino’s gentleman attendant, and the First Officer (and also a gifted guitarist); and handsome, talented Adam Poss returns to Chicago Shakespeare Theatre as the ship Captain and Antonio, Sebastian’s devoted friend and servant. 

In addition to the talent seen onstage, there’s a fantastic team of unseen artists supporting Tyrone Phillips in his chipper, colorful Caribbean vision. Together they make this production a fast-paced feast for both the eye and ear. Besides Christine Pascual’s gorgeous kaleidoscopic costumes, Sydney Lynne’s scenic design is as authentic-looking as it is romantic. The always changing setting is beautifully enhanced by Mike Tutaj’s gorgeous projections and lavishly lit with sun-drenched splendor by lighting designer Xavier Pierce. The scenes in which the lightning strikes and the rain falls and blows across the island are a miracle of technical and artistic achievement. Willow James’ expert sound design supports Robert Reddrick’s generous music direction and provides the beat for Sadira Muhammad’s movement. Kudos to Kevin Gudahl for his painstaking verse coaching that makes sure that every word is completely understandable.

Sure,  the Winter winds may be blowing across Lake Michigan and a few flakes of snow have started piling up around Chicago. But theatergoers will soon forget the changes in season when they settle into Chicago Shakespeare’s sun-drenched Courtyard Theatre. Within moments, audiences will lose themselves in this laugh-out-loud romantic comedy classic that feels fresh, fast-paced and so much fun. It’s a guaranteed treat for all the senses that will warm the heart and provoke two hours of belly laughter from even the grumpiest patron. Director Tyrone Phillips promises that audiences will feel like they’re on a Caribbean vacation, and where music provides the food of love.  

Highly Recommended

Reviewed by Colin Douglas

Presented October 25-November 26 by Chicago Shakespeare Theatre in their Courtyard Theatre on Navy Pier.

Tickets are available in person at the box office, by calling the theatre at 312-595-5600 or by going to www.chicagoshakes.com.

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