Twelfth Night by Shakespeare Theatre of New Jersey at the F. M. Kirby Shakespeare Theatre (review)

Abstract

Reviewed by: Twelfth Nightby Shakespeare Theatre of New Jersey at the F. M. Kirby Shakespeare Theatre Barbara Ann Lukacs Twelfth NightPresented by the Shakespeare Theatre of New Jersey at the F. M. Kirby Shakespeare Theatre, Drew University, Madison, NJ. 712 2022– 101 2023. Directed by Jason King Jones. Set design by Brittany Vasta. Costume design by Hugh Hanson. Lighting design by Andrew Hungerford. Sound design by Steven Beckel. Music composed by Cedric Lamar. Fight direction by Doug West. Stage management by Denise Cardarelli. Assistant stage management/Fight captain Isaac Hickox-Young. With Jeffrey Marc Alkins (Sebastian), Jon Barker (Duke Orsino), Jeffrey M. Bender (Sir Toby Belch), Jabari Carter (Curio/Officer 1), Robert Cuccioli (Malvolio), Dino Curia (Antonio), Jeffrey Dunston (Sea Captain/Priest), Tarah Flanagan (Maria), Cedric Lamar (Feste), Ty Lane (Fabian), Cameron Nalley (Valentine/Officer 2), Eliana Rowe (Viola), Patrick Toon (Sir Andrew Aguecheek), and Billie Wyatt (Olivia). [End Page 305] The Shakespeare Theatre of New Jersey concluded its 2022 offerings with a thoughtful and perfectly cast production of Twelfth Nightto celebrate the Christmas season. Director Jason King Jones's vision for what is one of Shakespeare's most popular comedies captured the spirit of the Twelfth Night revelry that traditionally marked the end of Christmastide. Notable were Jones's expanded treatment of Shakespeare's songs and his addition of two extra-textual actions with no dialogue, one that depicted Orsino's awakening to his amorous feelings toward Viola/Cesario, and one that added a bittersweet tone to the ending of the play. Jones enlisted Cedric Lamar (Feste) to compose accompaniments to the lyrics in the musical style of Shakespeare's day and to perform the songs while playing a baritone ukulele, accompanied on occasion by guitarist Dino Curia, who also played Antonio in this production. In some instances, songs that are musical fragments in the play-text were lengthened to full renditions through judicious editing. The set consisted of sand-colored walls covered with a star-like tessellation pattern. Three stars hung from above and a fourth star was fastened to a corner of one of the walls. The star motif was repeated in the shape of the candle holders carried by Olivia and Sir Toby Belch in their respective first appearances onstage. A centrally located open staircase with a large landing also featured prominently in the set. The staircase led up to an upper playing area that was surrounded by a low wall. Round-arched windows in the walls provided a means for some of the characters to observe and hear activities on the lower level while remaining concealed. Round-arched doorways at either end of the set provided for entries and exits. The back wall evoked a clear blue sky. On each side of the stage were three tall panels of sheer curtains that, with lighting variations, changed from white to pale pink. Three plain white stone backless benches and two white fir trees completed the set. This unobtrusive setting permitted the focus of attention to be on the characters in their quasi-nineteenth-century style costumes. Jon Barker's Orsino came across as narcissistic throughout most of the play, as evidenced by his continual gazing at himself in a small hand mirror, preening himself, sucking in his gut, and at times hugging himself. Orsino delivered his opening lines with emphatic hand gestures as he slowly descended the stairs from the balcony to the landing. He punctuated his reference to himself as "one self king" (1.1.38) by smiling broadly and gesturing to himself with his thumbs in rapturous self-admiration. This was not a melancholy lover whose love was unrequited by the object of his affection. Instead, Orsino seemed to be in love with the idea of [End Page 306]being in love, at least until he and Viola were brought together at the end of the play. One of the two non-dialogue actions alluded to earlier took place in Orsino's palace, during which Feste entertained the company present with a soulful musical performance of "Come away, come away death" (2.4.51–66), while Orsino and Viola/Cesario sat apart from one another on a bench and...