Twelfth Night Review
by Marlene Gaylinn, Connecticut Critics Circle.
“I just saw Twelfth Night at New Canaan's beautiful Irwin Park — a former grand estate. This version of Twelfth Night is a very humerous production with original songs and music. In fact, it is more like a musical than a play and takes place in 1920's Hawaii. The work is imaginative and the phrases so clearly rendered by the fine acting that one could easily forget that it was written by Shakespeare centuries ago.
In fact, the entire cast is so outstanding that
it held the audience's attention throughout. Reserved seating is under a huge, wing-like tent (good for light rain protection) and the lighting, which often encompasses the canvas ceiling gives the place an unusual glow.… the setting is more intimate, the sound is very clear and parking is not a problem. The entire atmosphere of the place is an enjoyable experience.”
Marlene Gaylinn, Connecticut Critics Circle.
Twelfth Night Review
by Geary Danihy, Connecticut Critics Circle.
"There's a very small, magical country nested in the heart of New Canaan. You won't see it during the day, but at night if you make your way to Irwin Park, this delightful country known as Illyria will slowly manifest itself and, like all magical countries, will both mesmerize and delight you.
Illyria, of course, is the setting for Shakespeare's Twelfth Night,
what some critics have called the Bard's most musical of plays, and director Allegra Libonati (who also did the adaptation) is certainly aware of that, for she has staged the Summer Theatre of New Canaan's production of this tale of disguise, deception and love at cross-purposes with a conductor's sensitive ear for the "symphonic" flow of the scenes.
From the play's opening lines, when Duke Orsino (Andrew Schwartz) tells his court musician that 'If music be the food of love, play on," to the closing, high-spirited song. "With hey, ho, the wind and the rain" sung by the entire cast, there is a distinct lyrical nature to the goings-on in Illyria.
The plot, in summary, is quite simple: Viola (Lindsay Rae Taylor) and Sebastian (Christian Libonati), identical twins, are separated during a storm at sea and each believes the other has drowned. Both wash up on the shores of Illyria, whereupon Viola disguises herself as a man, Caesario, to serve the Duke, with whom she quickly falls in love. The Duke is, however, smitten with Olivia (Dina Ann Comolli) and sends his newfound manservant to plead his case. Olivia promptly falls in love with Caesario, much to the consternation of her cousin, Sir Toby Belch (Brian Silliman), who is pushing for his friend, Sir Andrew Aguecheek (Michael Chmiel), to win OliviaÕs hand. Sebastian soon shows up, having been rescued by Antonio (Omen Sade), to complicate matters until all is happily resolved.
Twins and mistaken identity are plot devices that Shakespeare used with great frequency, often involving servants in the confusion. In the case of Twelfth Night,
which Allegra Libonati has chosen to set in the 1920s, he created one of his most famous comic characters in the form of Malvolio (Richard Sheridan Willis), Olivia's pompous servant whom Sir Toby, Sir Andrew and Olivia's maidservant Maria (Rachel Benbow Murdy) trick into believing has captured the heart of his mistress.
Seeing any production of the play, it is Malvolio most will remember, and given Willis's inspired performance it is easy to see why. Reed-thin, Willis, looking like a B-movie SS man, with his hair slicked back and wearing wire glasses, is so tightly wound he all but resonates and his speech is so-clipped itÕs as if his teeth are razors slicing away any extraneous syllables. His character's pretentiousness is a delight to watch, all the more so since it heightens his comeuppance when he appears in yellow hose and cross-garters, believing that such garb will delight his mistress. He imagines how, having wed Olivia, he will rule the roost, donning outrageous sunglasses and posing beneath a beach umbrella like some drag-queen interpretation of Tallulah Bankhead. It is high farce and just the sort of thing that would have pleased the "groundlings" who in Shakespeare's day paid a penny to stand in the pit of the Globe Theater, chewing on hazelnuts and oranges and demanding to be entertained.
Willis's excellent work is matched by that of a cast that is, across the board, absolutely superb. There is just so much good work going on up there (or down there) on the stage it's difficult sometimes to know where to look.
There's a certain impish quality to Taylor that works well for her in her transformation into Caesario. An accomplished Shakespearean actress who delivers her lines with a full range of emotion and depth (no classroom, sing-song here), her face is so expressive that a look or a smile conveys full pages of text. Equally expressive is Comolli's livia — her eyes dart left and right as she plots to win Caesario's love and her face literally lights up when she is delighted.
Silliman and Chmiel play exceedingly well together as the libidinous Belch and the somewhat less then knightly Aguecheek — Silliman larger than life and full of bombast; Chmiel alternatively fawning and fatuous. Their scenes often devolve into delicious farce, with the two evoking no less than Laurel and Hardy as Silliman suggests another debauch or eggs Chmiel into challenging his rival and Chmiel eagerly goes along.
Ryan does a very engaging turn as the clown, working the audience whenever he can and delivering his lines, both wise and foolish, with brio. Equally assured is Murdy as the somewhat earthy Maria who is fully capable of holding her own against Silliman's booming Sir Toby.
The setting for all of these goings on has a Caribbean flavor to it, with water playing a central part in Patrick Lynch's open set, for early in the first act two boards are lifted up from stage center to reveal a square pool that will serve, at various times, as the sea, a spa and a dungeon. Many of the cast members are damp to sodden in many scenes, which makes for some slippery going on the rest of the stage. It's wiped down at intermission but soon becomes splattered again — a surface especially treacherous for the ladies in high heels. It's a wonder some of the cast members didn't go sliding off into the audience.
It's rare to find an ensemble doing Shakespeare that doesn't have some of its members delivering their lines as if they are in high school English class. This does not occur with this group of actors, all of whom fully invest their characters with believable humanity while speaking their lines as if over 500 years does not separate their penning and their delivery. In essence, it's Shakespeare on a very high and exceedingly enjoyable level, and it would serve thee well to hie thyself to the woods of Irwin Park to partake of the festivities. Thou shalt not be disappointed.
Twelfth Night runs through Saturday, July 12. For tickets or more information call 966-4634."
— Geary Danihy, Connecticut Critics Circle.
Twelfth Night Review
by Tom Nissley, Connecticut Critics Circle.
The Summer Theatre Of New Canaan's "Twelfth Night" is a splendid tour de force, played by skilled actors, on a beautiful set that changes with the evening light.
Allegra Libonati's direction is evident in the display of physical energy by the company, and brilliant timing. The complicated story (Shakespeare asks the audience to believe that Viola, saved from a wreck at sea by the ship's captain is indistinguishable from Sebastian, her brother, saved from the same wreck by a young soldier who bonded with him when he found him lying on the shore, and that love at first sight creates overwhelming and demanding urges) was made easy to follow in the hands of such a talented company. And so this theatre event went very well indeed. Let's follow with some particulars. An opening scene which implied Hawaiian dancing and an ad from a glossy travel magazine got the audience to focus on some of the crossed I-beams as well as a Polynesian setting, and soon used the actors to portray the storm which began the plot by tossing Viola (Lindsay Rae Taylor) and Sebastian (Christian Libonati) into a churning ocean (a pool in the center of the stage that got lots of use during the performance became the ocean – at othertimes it erved as a seaside pool). Then a tall and handsome Duke Orsino (Andrew Schwartz) submerged himself in the relaxing waters and pined for Olivia (Dina Ann Comolli), a nobel neighbor in mourning, who has rebuffed his advances. Now we are introduced to the splendid talent of the Court Musician (Omen Sade) – a good omen who indeed sets the pace for fine music which continues throughout the performnce. At Olivia's house we meet her uncle, Sir Toby Belch (Brian Silliman – an absolutely fabulous character actor); his rich friend Sir Andrew Aguecheek (Michael Chmiel – ditto); Olivia's house keeper, Maria (Rachel Benbow Murdy); her jester, Feste (Darren Ryan – also a skilled musician and actor who plays this role to perfection), and her manservant, Malvolio (Richard Sheridan Willis – another fabulous character actor whose caricature portrayal of this poor old butler must rank among the best ever presented).
In short order Viola arrives to serve the duke as a young manservant (!), and he sends her to try once more for some romantic attention by Olivia. Olivia rebukes the offer but falls quickly in love with the young man (which he isn't), whom she knows as Cesario. In this and subsequent scenes Miss Comolli does a beautiful job of coming out of mourning and finding a new purpose in life, as she hungers for Cesario wish remarkable physical maneuvering. In the meantime Viola has fallen in love with the Duke, who doesn't know that she's a woman and so the story proceeds until Sebastian, who has been living with Antonio (Omen Sade), who in turn loves him, arrives, is mistaken for Viola, but accepts Olivia's affection, and so on until there is a happy ending.
You cannot fail to enjoy this production, and to admire the excellent work of this fine cast. The set (Patrick Lynch), the lights (Daniel Chapman), and the costumes (Kristen Sieh) all contribute to a superb production of "Twelfth Night."
It plays through July 12 in New Canaan.
Tom Nissley, Connecticut Critics Circle..
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More Reviews:
"There's a very small, magical country nested in the heart of New Canaan. You won't see... (more)
The Summer Theatre Of New Canaan's "Twelfth Night" is a splendid tour de force, played by skilled actors, on a beautiful set that changes with the evening light. (more) |
