New York Review: The Center at West Park and Hamlet Isn’t Dead present “Twelfth Night”
Natalie Rine, Associate New York Critic
The Center at West Park, despite its façade as a church, currently bustles with savory and sordid energy, not unlike walking into the waiting room of that little play Sleep No More. Similarly, here the atmosphere is electric with anticipation; a groovy band plays crowd-pleasing covers while the sanctuary’s pews and newfound “groundling” tables up front are illuminated with the ethereal glaze of fairy lights. Such is the intoxicating tone set by Hamlet Isn’t Dead’s glorious production of Twelfth Night, now playing through March 14.
One of Shakespeare’s classic comedies, Twelfth Night is home to numerous iconic platitudes and familiar characters. Wayward heroine Viola is shipwrecked, stranded from her twin brother, and she must navigate the strange world of Illyria, populated by larger-than-life people: whether it’s dreamy and lovesick Orsino, proud and powerful Olivia, or snooty and puritanical Malvolio. Mistaken identities ensue, but in the end, true love finds a way to work out for all. Director James Rightmyer, Jr.’s vision of this classic text infects you with a flippant joy, marrying live contemporary music to the quick-witted poeticism of the original slapstick and language. But despite the live pop-rock musical interludes, the production is grounded in a heart on every sleeve of the performers finding the truth to each choice. Unhindered by any off-kilter presuppositions about adding superfluous “relevancy” to Shakespeare, this production instead finds truth drawn from Shakespeare’s appealing to the masses back then even as today, through a vacillation between setting his words to toe-tapping tunes then reveling in his jostling phallic jokes and back again in a natural, hilarious rhythm. The pace reels you in, urging you to laugh and clap along as the characters go from running amok to earnestly pining for all the wrong people in the blink of an eye.
Stealing the show is the incomparable Maureen Fenninger as the wise-cracking fool Feste. Her insatiable comedic chops are summed up best not only by the non-stop expressivity of her facial and body language but in that her plucky, punchy delivery of the mere word “Madonna” hits with the same perfectly executed repeatability and hilarity of a TikTok audio that won’t stop looping in your head. To top this off, the fool doubles as our lead singer when music is invoked, leading us with her buoyant voice through not only an earworm original song (by James Powers and David Anthony Hentz) but also through the host of pop songs pre-show and intermission. Accompanied by cast members Cameron Silliman (Maria), Duke Norsworthy (Drummer/Attendant), Justin Bennett (Curio/Priest), and David Anthony Hentz (Valentine), the onstage band adds a dash of modernity in all the right places, crooning mostly male songs of longing in a fresh, gender and time-bending fluidity (The inclusion of “What A Man Gotta Do” and “I bless the rains in Illyria”? Genius.) Fenninger shares vocals with Silliman, with both possessing an equal, enviable amount of prowess to invoke the spirits of such iconic rockstars as Elton John, The Jonas Brothers, and Harry Styles, yet retain a shape and style completely their own while balancing Shakespearean character. No small feat!
In fact, every member of this stellar ensemble brings a unique flair to their respective characters, creating a recipe for Shakespearean success. Stephanie LaVardera’s self-assured Olivia imbues her iconic meeting with the disguised Viola/Cesario with haughty turned squealish delight that can bubble over only from the innocuous wonder of a crush at first sight. Taylor Harvey’s Viola/Cesario squeezes an earnest passion that only youthful innocence can bring into every drop of syllable and soliloquy. Both women spend the play flummoxed at the male species (who can blame them), but playing their foils are the hilarious trifecta of Travis Klemm (Malvolio), Michael Luca (long-lost twin Sebastian), and Joey Mulvey (Duke Orsino). Accompanied by their respective posses (Cameron Silliman, Rahoul Roy, Mike Marcou, and Jordon Waters), the ensemble scenes stand out as paradigms of timing and tomfoolery.
Hamlet Isn’t Dead’s “Twelfth Night” marries individualism and gender/class expressionism to a greater whole, as summarized nicely through costume design by Amelia Dudley, wherein characters subtly don individually colored fabric or neckties in various fashions depending on status and character relationships. Viola ties one round her neck only when she becomes Cesario; Olivia sports a mournful black hair bow removed once she is in pursuit of love; groovy sidekick Toby has a pink one blending into his already outrageous shirt (bringing it back later hilariously as arm sling). While various other Illyrian characters also sport these scarves as headbands or belt accessories, a few choices marked directorial precision in character development: the Fool wears a necktie in the same position as Viola, perhaps asking who the greater fool in love and costume is; additionally straight-man Malvolio and Illyrian outsiders Sebastian and Antonio appear to never possess such accessories. Through every choice, whether acting or design, this production enchants and delights, and you’d be wise to get your ticket before it sells out.
“Twelfth Night” by William Shakespeare
“Twelfth Night” by William Shakespeare is directed by James Rightmyer, Jr., featuring original music by James Powers and David Anthony Hentz. Production team includes: Stage Manager -- Nicole Amaral; Assistant Stage Managers -- Megan Necovski, Deanna Amaker; Assistant Director -- Michael Fleischer; Technical Director -- David Andrew Laws; Lighting Designer -- William Alan Waters; Set Designer -- Rachel Langley; Costume Designer -- Amelia Dudley; Musical Director -- James Powers; Marketing Director -- Mahaley Jacobs; Marketing Coordinator -- Gracie McBride; Front of House Manager -- Elizabeth Ruelas; Production Photographer -- Valerie Terranova. Cast includes Justin Bennett, Maureen Fenninger, Taylor Harvey, David Anthony Hentz, Travis Klemm, Stephanie LaVardera, Michael Luca, Mike Marcou, Joey Mulvey, Duke Norsworthy, Rahoul Roy, Cameron Silliman, and Jordon Waters.
“Twelfth Night” runs in the Sanctuary Theatre at The Center at West Park (165 West 86th St, NY, NY 10024) until March 14, 2020. The running time is around 2 hours 15 minutes including a 20-minute intermission. For tickets and more information, please visit hamletisntdead.com
Photo Credit: Valerie Terranova