Twelfth NightPosted: December 11, 2013
This is how it’s done people. What a delight this production is. Brought over from Shakespeare’s Globe, Twelfth Night is in rep with Richard III through February. Both productions are being presented in the original Elizabethan style. There is on-stage seating resembling the levels of the Globe, period costumes and corsets, and most noticeably, an all-male cast. And although I haven’t seen Richard yet (review to come in January), I have a hunch that if it’s anything like Twelfth Night, neither is to be missed this Broadway season.
My good friend Courtney was my theatre pal for the evening. Oh! Would you look at that? She also happens to have a kick-ass blog! Anyway, we haven’t stopped talking about the show. The actors are excellent across the board and are a hoot to watch because it’s clear they’re having so much fun. And after sitting through Macbeth a few weeks ago listening to actors who don’t have a handle on the language, what a pleasure it is to hear Shakespeare’s words spoken the way they were meant to be spoken. Every single person up on that stage knows what they are doing, and as a result, every single word is brought to life. The poetry pours out of the lines, and there is a sense of great clarity surrounding each scene. Guys, even Ben Brantley and I agree: “They let the language lead them to the characters. Because they know what they’re saying — and where what they’re saying comes from — we do, too.” If I had to pick from his entire canon, I would say Twelfth Night is my favorite Shakespeare play. I’ve seen three different productions (including Shakespeare in the Park and the Royal Shakespeare Company in Stratford-Upon-Avon), plus the film, and even so, I still heard lines in new ways. I got to discover the comedy and wit of this piece all over again.
And don’t even get me started on Mark Rylance. This man, I mean, I can barely talk about it. Ever since I first laid eyes on his work in the farce Boeing Boeing, for which he won a Tony Award and gave THIS brilliant acceptance speech, I have not missed a show of his in New York. He starred in Le Bête and Jerusalem (for which he won his second Tony), and now he is back for these two Shakespeare plays. I look forward to seeing his Richard in January; in Twelfth, he takes on the beautiful, somber yet sassy Olivia.
Watching Mark Rylance is the equivalent of taking an acting class (read a great Q&A here). Never have I seen an actor discover on the line more. For you non-theatre folk out there, in Shakespeare, actors are encouraged to discover/have the new thought/get the idea/change tactics as they speak (“on the line”). However, many actors react and then speak when in fact the words are there to help them. Every word that comes out of Rylance’s mouth is a true discovery. It is so clear that you can catch shifts within him from syllable to syllable. Each moment is a surprise for him and therefore us. Okay, okay, I’ll stop gushing now. Go see him.
What more is there to say really? I could bore you with details or recap the story, but I don’t think it’s necessary. What counts is that Courtney and I were equally blown away (along with everyone else I’ve talked to). The direction is effortless and the acting organic. The characters and inner-relationships are incredibly well-developed. And it may have a running time of 2 hours and 50 minutes, but it never feels like it.
Oh, and those of you out there afraid of Shakespeare plays for fear that you won’t understand, this is the one to see. Billy would be proud.
Twelfe Night, Or What You Will
Written by William Shakespeare, Directed by Tim Carroll
Belasco Theatre through February 16th
Photo Credit: Joan Marcus
Pictured: Samuel Barnett and Mark Rylance