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Nothing says summer in the big city like free Shakespeare in the Park on a twilit night in May. Early showers did nothing to dampen Collaborative Arts' opening production of “Twelfth Night.”
The lovelorn Orsino invokes sweet emotion with his opening line “If music be the food of love, play on, give me excess of it…”
And so we are invited to succumb to this romantic comedy, which is among Shakespeare's most accessible plays. The backdrop of nature's crescent moon, beside the man-made edifice of a high-rise in mid-construction, is perfect for an introduction to the Bard. “Twelfth Night” is rife with mixed identities, drunken pranks, and the cleverest of fools.
A simple set consisting of swaths of material takes us from the seashore to the royal court. Siblings Viola (Elise Wilkinson) and Sebastian are rescued from tumultuous seas, each believing the other dead. Viola assumes the male identity of Cesario, and indentures herself to Duke Orsino, who is vying for the hand of the unattainable Countess Olivia (Greta Marie Zandstra).
A love triangle quickly develops: Olivia, who is surrounded by characters modern sitcoms would do well to borrow from, sets her sights on Cesario/Viola. Cesario/Viola is falling in love with her boss Orsino (Chaz Pofahl), while Orsino really likes Cesario/Viola as a friend, but still loves Countess Olivia as a woman.
But three other madcap troublemakers steal the show. One is Craig Spradley, as the fool Feste. He is sprightly and wise as he mocks the main characters with poetry. Director Joe Copley also uses Feste to gently direct the audience where to point their attention. As a scene closes, Feste strolls to where the next will begin, while singing original music composed by Stan Peal.
The two other scene-stealers are a pair of drunks: Olivia's uncle, Sir Toby Belch (Peter Smeal), a guffawing, cheery sot, who cajoles his cohorts to trick those who interfere with a rogue and his bottle; and Belch's goodhearted drinking partner, Sir Andrew Aguecheek. Aguecheek is played by actress Andrea King, who weaves, jigs and drinks with happy abandon.
Opening night suffered a few solvable glitches on the outdoor microphone front. Erin Dougherty's capricious costumes range from ornate gowns of scarlet and black to Feste's cheeky, colorful pants.
A note to teachers and parents: Encourage the teenagers you know to see this production of “Twelfth Night.” Most of them will be required to read Shakespeare at some point, but this is how his work is intended to be experienced. It is raw, funny, and full of poetry and challenging language. Its relevance is far easier to understand in three dimensions than on the page.
Collaborative Arts co-founders Copley and Wilkinson have brought theater to several unconventional settings. This outdoor production is a cultural gift to both the public and the city of Charlotte.
