reviewvancouver:Bard on the Beach, Twelfth Night; John Jane

Bard on the Beach opens their thirty-fifth season with a musical adaptation of William Shakespeare‘s romantic comedy Twelfth Night. Director Diana Donnelly’s whimsical re-imagining is set to a carnival theme; still in Illyria, though not necessarily on the Adriatic coast.

It’s a wonderfully entertaining piece of theatre; one of Shakespeare’s most labyrinthine comedies that has elements of mistaken identity, switching sexuality and even a suspicion of madness. At different points, the play serves up two of the Bard’s most famous quotations: in the first act, Feste, the play’s complex jester pleads “If music be the food of love, play on.” In Malvolio’s soliloquy, we learn “Be not afraid of greatness: some are born great, some achieve greatness, and some have greatness thrust upon them."

Diana Donnelly has recognized the theatre space, potential audience and available talent and has decided to go for broke with audacious comedy. The play begins with the cast of colourful characters led by Anton Lipovetsky’s Feste in Veda Hille’s song You’re Here in Illyria.

Just to make things simple, Duke Orsino (Aiden Correia) harbours romantic feelings for the Countess Olivia (Olivia Hutt). He employs Viola (Kate Besworth) the female half of fraternal twins. She changes her name and gender to become Cesario and sets out to woo the beautiful Olivia on behalf of the shy duke. Everything goes sideways when Olivia falls in love with Cesario, but Cesario has already fallen in love with the hapless Duke.

Dawn Petten as Malvolia
Photo: Tim-Matheson

There is also a subplot that almost takes over the second act: Olivia’s servant, Maria (Evelyn Chew) together with her cohorts Sir Toby Belch and Sir Andrew Aguecheek (Marcus Youssef and Nathan Kay) play a cruel trick on Malvolio. They leave a fake letter on a giant plush toy declaring that Olivia is ready to return Malvolio’s affections. Youssef and Kay combine to provide much of the play’s comic schtick, but it’s Dawn Petten who gets kudos for her conviction and nuanced performance in taking on the play’s only real villain. Normally a male role, Ms. Petten totally commits, particularly in the second act monologue.

Anton Lipovetsky (sporting a bizarre widow’s peak) demonstrates his musicianship on guitar and piano, as well as his acting talent as the quixotic Feste. Kate Besworth takes over from Camille Legg as Viola for this performance and makes the role her own. It does, however, require some audience goodwill to accept she is mistaken for Charlie Gallant who plays her twin Sebastian.

Pam Johnson’s ostentatious set design that incorporates popular sideshows gives the carnival theme production a distinct quality. Costume designer Mara Gottler’s flamboyant clothing is both quirky and intentionally meretricious. Veda Hille’s original compositions dovetail perfectly into the performance.

Twelfth Night is a thoroughly satisfying theatre experience that audiences will not just want to see, but also join in the fun of a Bard on the Beach production.