A Theater Review by Julinda D. Lewis
At: Agecroft Hall, 4305 Sulgrave Road, RVA 23221
Performances: July 8 – August 14, 2021
Ticket Prices: $33 ($28 for Seniors, $23 for RVA On Stage, $20 for Students)
Info: (804) 340-0115 or quilltheatre.org
For their first show at Agecroft Hall after “the plague that shall remain nameless” the Quill Theatre chose Shakespeare’s zany romantic comedy, Twelfth Night. The play takes its name from the Twelfth Night as it was created as holiday entertainment marking the Epiphany, or the end of the Christmas season. In addition to the shipwreck, unrequited love, deception, revenge, mistaken identities, cross-dressing, androgyny, and numerous other elements that Shakespeare wrote into the plot, Quill Theatre updated the play with colorful and whimsical costuming (e.g., Feste’s flower child ensemble, Malvolio’s bell bottoms and yellow stockings) and a sound score that featured 1960s pop hits (think the Beatles, the Monkees, and Elvis).
Meerovich, who plays the fool Feste as well as serves as musical director, opens the show with a lively serenade that sets the tone for the evening and Lucretia Marie who plays the minor but nonetheless important role of the sea captain, Antonio, who saves the shipwrecked Sebastian, reads the evening’s announcements. Before you know it, the play has begun, with some major characters popping up from amidst the audience from time to time. The show runs about 2.5 hours, with one intermission, but director Jan Powell established an easy, organic pace that complemented the casual layout, with the audience spread out over the back lawn under a clear sky, accentuated by a lovely sunset, a pastoral setting, and welcome breezes from the nearby river – as well as the occasional passing train.
For those who need a refresher – or an introduction – Twelfth Night recounts the tale of noble-born twins Viola and Sebastian who are shipwrecked off the coast of Illyria, a region of the Balkan Peninsula. The twins are separated, each thinking the other has drowned. Sebastian is rescued by Antonio, a sea captain, and the two remain peripheral for much of the play while Viola, after being saved by an unnamed rescuer, disguises herself as a boy, takes the name Cesario, and becomes a servant to Duke Orsino, who is in love with the fair Olivia, who is mourning her deceased brother. To complicate matters, Viola/Cesario falls in love with Orsino, and Olivia falls in love with Cesario who has come to plead the case of Orsino. While all this is going on, Olivia’s maid Maria, Olivia’s rowdy uncle Toby and his friend Sir Andrew conspire to convince Olivia’s household steward Malvolio that Olivia is in love with him. Feste, a court jester and roving musician, weaves between all the characters, collecting tips and keeping the audience entertained with musical divertissements.
Emily Berry and Mitchell Ashe played the shipwrecked twins, each believing the other had drowned until the final scene. Dressed identically, with Berry disguised as a boy, both become involved in relationships that bend and blend gender boundaries. Berry’s character is in a triangle with Olivia and Orsino while Ashe’s character inadvertently risks breaking the bonds of trust established with the sea captain who helped him at great personal risk. Both ultimately end up in conventional male-female couplings. Berry has a lot more stage time than Ashe, increasing the audience’s anticipation of their ultimate reunion – which drew cheers on Thursday night.
Michael Blackwood and Lucretia Marie, as the benefactors of the twins, provided solid dramatic counterpoint to the constant hilarity delivered by Cole Metz, Levi Meerovich, Foster Solomon, and Kurt Benjamin Smith, much of which was instigated by Erica Hughes’ character. Thanks to their unrelenting and often physical humor, it was easy to keep up with the flow of the action even when the sound system failed us. Sometimes, it seems depending on where the actors were standing, words and lines got lost, and for awhile there was a bit of static coming from some of the speakers. But this was a new configuration for the Richmond Shakespeare Festival, and I trust that these issues will be worked out during the run of the show.
A modest set (no credit given on the PDF version of the digital program I have) consisting of a simple wooden fence with a few green vines and some lovely rainbow colored lighting by BJ Wilkerson provided atmosphere without overwhelming the backdrop – Agecroft Hall, a Tudor mansion that, we were reminded, stood in England while Shakespeare was still alive. The audience saw scattered across the spacious lawn on lawn chairs and blankets, in clusters as close to others as you chose to be. I don’t recall seeing any masks, but you could certainly wear one if you want to. All in all, Twelfth Night delivered a delightful night of theater, and its utter nonsense provided a welcome sense of normalcy.
By William Shakespeare
Viola – Emily Berry
Olivia – Michelle Greensmith
Orsino – Michael Blackwood
Malvolio – Cole Metz
Feste – Levi Meerovich
Toby Belch – Foster Solomon
Andrew Aguecheek – Kurt Benjamin Smith
Maria – Erica Hughes
Sebastian – Mitchell Ashe
Antonio – Lucretia Marie
Direction & Design
Director: Dr. Jan Powell
Assistant Director: Melissa Rayford
Stage Manager: Nata Moriconi
Technical Director: Ryan Delbridge
Lighting Design: BJ Wilkinson
Costume Design: Anna Bialkowski
Music Direction: Levi Meerovich
Sound Mixing: Todd Schall-Vess
Intimacy Director: Lucinda Piro
Assistant Stage Manager: Lane Woodward
Assistant Stage Manager: Hope Jewell
Photo Credits: Dave Parrish Photography & Quill Theatre Facebook page