Shakespeare’s “Twelfth Night” presents a unique challenge for any production, providing a blend of romantic comedy intertwined with themes of deeper emotional turmoil such as mourning and betrayal.
When ACT and Seattle Shakespeare Company announced their collaboration to present this complex play as their first joint venture since merging, expectations ran high.
However, concerns arose as the production leaned heavily towards the romantic and comedic elements, neglecting the play’s darker themes. While various performances within the production were enjoyable, some fell flat, characterized by excessive yelling, leading to a disappointing conclusion.
At its core, “Twelfth Night” centers around the characters Viola and her brother Sebastian, portrayed by Alegra Batara and Rhys Daly, who survive a shipwreck in a violent storm. The siblings are separated upon washing ashore in Illyria, where Duke Orsino, played by Arjun Pande, reigns. Viola, wishing to protect herself, disguises herself as a boy named Cesario and finds employment with the Duke, who is hopelessly in love with Olivia, depicted by Jasmine Jean Sim.
The plot quickly thickens as Olivia spurns Orsino’s advances, leading him to send Cesario to woo her on his behalf. Olivia, however, unexpectedly falls for Cesario, while Viola finds herself drawn to Duke Orsino—creating a tangled web of relationships with no easy resolutions.
Adding layers to this already intricate storyline, Olivia’s uncle, Sir Toby, and another suitor, Sir Andrew, contribute to the comedic chaos. The play’s nuance lies within these character interactions, and director Annie Lareau’s decision to predominantly focus on comedic aspects raises questions.
Instead of exploring the darker or more nuanced elements present in the dialogue and relationships, Lareau’s interpretation opts to incorporate another romantic subplot that strays from the original narrative. A striking shift occurs when a romantic connection is formed between Sebastian and the sea captain Antonio, portrayed by Benjamin Neil McCormack, adding unexpected depth.
However, this romantic tension is abruptly sidestepped as Sebastian meets Olivia, leading to a quick romance devoid of loyalty towards Antonio. The abruptness of this transition not only feels jarring but also conveys a troubling message about love and fidelity, particularly in an important context during Pride Month.
The comedic trio comprising Sir Toby, Sir Andrew, and Feste, alongside others, indulges in a cruel prank against Malvolia, Olivia’s steward, played by the formidable Amy Thone. The plot designed to humiliate Malvolia culminates in a cruel twist where the tricksters face little to no repercussions for their excessive actions, while Malvolia is left shattered and abandoned.
Such portrayals depict the need for a more balanced representation of consequences for actions—particularly when directed towards themes of humiliation and emotional devastation.
Despite these glaring issues, the production shines through with strong performances, particularly from Jasmine Jean Sim, whose presence captivates the audience. Her ability to convey Olivia’s journey through love and desire stands out, even with the limited musical opportunities offered to her within this version of the play.
The music, curated and composed by Malex Reed, brings an additional layer of enjoyment throughout the performance. Reed’s contributions, alongside Cassie Q Kohl as Feste and others in the cast, enhance the atmosphere, despite some numbers feeling excessive and stretching the show to nearly three hours.
The performances of Batara and Daly as Viola and Sebastian are commendable, showcasing great stage presence and vocal talent. However, as the drama unfolds, the portrayal of Sebastian becomes disheartening, as the character’s decision at the end leaves a bitter taste in the viewer’s mouth, overshadowing the enjoyment of a traditionally happy conclusion.
Overall, while the production of “Twelfth Night” offers moments of brilliance and enjoyment, it strays from a cohesive narrative, filled with disjointed storylines and misplaced comedic emphasis.
With mixed capabilities among the cast and an underwhelming resolution, the production ultimately does not live up to its potential. In summary, ACT and Seattle Shakespeare Company’s effort, rich with talent, struggles with its direction and interpretation, leading to a disappointing assessment.
The review concludes with a rating of MEH-, reflecting the imbalance within the portrayal of a classic Shakespearean comedy. As audiences absorb these performances, there’s hope for a future reinterpretation that embraces both the light-hearted and the profound elements intrinsic to Shakespeare’s work.
image source from：https://www.broadwayworld.com/seattle/article/Review-TWELFTH-NIGHT-at-ACT-And-Seattle-Shakespeare-Company-20250613
