In a historic moment for Seattle’s arts scene, the ACT Contemporary Theatre and Seattle Shakespeare Company (SSC) have merged to form a more formidable entity.
This collaboration aims to not only bolster their resources but also to foster innovative productions that reimagining classic works.
On June 12, the new organization debuted its inaugural production of William Shakespeare’s “Twelfth Night” to enthusiastic applause from a full house of theatergoers from all corners of the Seattle theater community.
The show began with a heartfelt introduction from program directors John Bradshaw and Elisabeth Farwell-Moreland, who expressed gratitude to everyone involved in the merger.
They urged the audience to continue their support for local theater and the arts.
The performance kicked off in true Shakespearean fashion, with a dramatic storm at sea leading to a shipwreck that separates Viola, played by Alegra Batara, from her twin brother, Sebastian, who is presumed dead.
Batara captivated the audience with her compelling stage presence, deftly navigating the emotional highs and lows of the role, whether in moments of camaraderie or conflict.
Noteworthy performances from Arjun Pande and Jasmine Jean Sim, who portrayed Duke Orsino and Olivia, enriched the production further.
Sim showcased a diverse range of emotions, seamlessly transitioning between heartfelt sorrow and comedic passion.
Similarly, Pande’s portrayal balanced the character’s lovesick tendencies with an air of overbearing masculinity throughout the two-hour show.
However, this was not your typical rendition of “Twelfth Night.”
The innovative approach to character portrayal, particularly the gender-reimagining of several figures, brought fresh perspectives to the familiar narrative.
Notably, the character of Malvolia, interpreted by the remarkable Amy Thone, transformed the original male-female dynamic into a poignant exploration of queer romantic infatuation.
Additionally, the complex relationship between Sebastian, played by Rhys Daly, and Antonio, portrayed by Benjamin Neil McCormack, introduced a romantic dimension that had not been seen before in traditional performances.
Thone, Daly, and McCormack’s performances imbued the production with richness and daring, inviting the audience to contemplate new interpretations of these classic characters.
I had the opportunity to interview actress and casting director Pilar O’Connell regarding the reimagined elements of the play.
O’Connell emphasized that Shakespeare’s works are inherently queer and that many characters possess the potential for diverse interpretations.
“In reality, Shakespeare was writing for queer individuals and often for trans individuals,” O’Connell noted.
They highlighted that the historical context of all-male casts performing would lend itself naturally to fluid character portrayals.
For O’Connell, it is crucial that the identities of the actors are authentically represented on stage.
After years of Shakespeare being perceived as a domain of predominantly cisgender white individuals, this is an exciting shift.
O’Connell remarked on the importance of representation, stating, “Our Viola is Filipino, and if a Filipino kid walks in and sees the show, they might think, ‘Oh, I could do this too.’”
The production succeeded not only through stellar performances but also through creative contributions across the cast and crew.
Costume designer Danielle Nieves provided eclectic and vibrant attire, while set designer Parmida Ziaei created an enchanting, villa-like environment, full of surprising elements that enhanced the spectacle.
In addition, the musical elements were expertly woven into the performance, from songs sung by Olivia and Feste the Fool (played by Cassi Q. Kohl) to the live accompaniments offered by O’Connell and actor-musician Malex Reed.
This blending of music and drama infused the production with a jubilant energy and displayed remarkable talent.
With their inaugural joint effort marked as a triumphant success, ACT and SSC have set the stage for a dynamic future, offering both contemporary and classical works ahead.
As Seattle audiences continue to support this innovative theater community, the possibilities appear endless.
image source from：dailyuw
