gbgentz@unm.edu
In order for Shakespeare to be good, it breaks down in two ways. If it’s a tragedy or one of the histories — they kind of blend together — it’s got to be powerful. If it’s a comedy, well, it’s got to be funny.
And this is definitely funny.
Albuquerque has given a lot of attention to different productions of “Twelfth Night” — so much so that you’d scarcely think Shakespeare did other comedies at all. It is understandable that a prospective theatergoer could be apprehensive or uninterested in taking the plunge yet again.
But crush those sneaking doubts and go to the second play in Will Power 3 at the Vortex. The production has simultaneously nailed it and knocked it out of the park — as physically impossible as that sounds.
For those unfamiliar with this work, the light Shakespearean comedy “Twelfth Night” has many intertwining storylines. In the first, twins are separated at sea and each believes the other is dead. The female twin Viola, played by Caitlin Aase, decides that the best possible way to get a job is to dress as a man and help Count Orsino, played by Ned Record, woo his beautiful rich-lady neighbor Olivia, played by Jessica Record. Viola falls for Orsino, Olivia falls for Viola-the-boy and the rest is high jinks and history.
Eventually, the male twin Sebastian, played by Billy Trabaudo, looks so much like his sister-the-boy that he proceeds to show up later in the plot, just to beat the holy bejeezus out of people while still having sex with others. Not a bad day’s work.
So why is this production of Twelfth Night amazing? Certainly, the majority of the acting is beyond outstanding — you’ll constantly forget you’re watching a play. Only a few exceptions bring you back to reality. But the design and tech make the show interesting to watch, and it’s the little details, such as mimed golf, which beautifully punctuate the show.
When a Shakespearean play switches its time period, it can often produce laziness in terms of design. It’s a danger that Twelfth Night completely avoids.
The setting isn’t exactly clear — everyone wears modern clothes, while there are still sword fights — but it’s really okay. The whole play is just a dream, a love fantasy smack dab in the middle of a lazy summer. Why didn’t Shakespeare do that more often?
The costume design by Lila Martinez is beyond astounding. From the slick white three-piece suits of the genuinely gender-confused twins, to the gaudy blasé garb of the funny men Sir Toby Belch and Fabian, played by Scott Sharot and Justino Brokaw*, to the genius design of the Rastafarian fish that is the clown Feste, played by Andrew Patrick Mazer, the costumes are bright, original and just as hilarious as the performances themselves.
The cross-dressing disguises test whether it is believable that none of the characters suspect the true sex of Viola. Caitlin Aase’s male image comes in the form of a Justin Bieber swoosh. Sexual ambiguity achieved!
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In productions, it’s usually easy to pick linchpin performances, even among the virtuosos who deserved to be mentioned. Here, it has never been so hard. Sir Andrew Aguecheek, played by Daniel T. Cornish, is as uproarious as Pee-wee Herman incarnate.
Charles Fisher never fails to impress as Malvolio. He nails every scene and his hilarity exceeds expectation. In his private moments, his accent becomes more lower class as he conspires to claw up the social ranks. It is pure brilliance.
Jessica Record’s smitten schoolgirl countess could not be funnier, and Caitlin Aase and Ned Record display expert comic timing.
Andrew Patrick Mazer’s clowning is as good as comedic acting gets. Even the ladies-in-waiting, played by Kim Jennings**, Alexandra McCrary and Andee Schray, are adorable and do incredible amounts despite their small number of lines.
The aged axiom “there are no small parts, only small actors” has never been so true.
Be warned that it’s long. With intermission, it was three hours on the dot. It’s due, unfortunately, to all the musical merriment scattered throughout.
But when the whole cast comes out for the curtain call, each sporting their own ukulele, their unison singing is partly drowned by a confused audience wondering if they should keep clapping.
Now this is a truly special moment.
It doesn’t get funnier than that.
*The published version of the story says the part of Fabian was played by Eddie Dethlefs. Justino Brokaw, in fact, played the part of Fabian. The error was made in editing.
**The published version of the story says the part of lady-in-waiting was played by Dianna Maynard. Kim Jennings, in fact, played the part. The error was made in editing.
Twelfth Night
Directed by Brian Hansen
Part of “Will Power 3,” the third annual Vortex Summer Shakespeare Festival
The Vortex Theatre 2004½ Central Ave. S.E.
Thursdays, Fridays and
Saturdays at 7:30 p.m.
Sundays at 2 p.m.
Runs through July 15
Thursdays $10
Friday through Sunday $15
Students $10
For tickets and reservations visit vortexabq.org or call 505-247-8600.
