Review: TWELFTH NIGHT at Shakespeare Theatre Company Academy

Shakespeare Theatre Company (STC) Academy Summer Repertory wows with their production of Twelfth Night. The cast of young actors, nearing the completion of their graduate training at the Academy, deliver a professional caliber performance of the renowned comedy. Opening with a tragedy, Twelfth Night entertains audiences with disguises, mistaken identity, love triangles, and a little bit of chaos and mischief. This production is sure to draw in seasoned Shakespeare fans and new audiences alike with exquisite comedic timing, modern twists, and a little music along the way!

The company is composed of 15 young actors, all part of the STC Academy, performing not only Twelfth Night but also Macbeth as part of their Summer Repertory. Knowing the duality of these performers only impresses audiences more, as performing two shows concurrently, and with the vigor that they are, is extraordinary. For a stage with minimal set, each character was so well thought out and the choices made through character development never made the stage feel empty. The company did a phenomenal job setting the scene and utilizing intentional movement to bring the story to life. 

The entire cast stuns, with memorable performances across the board, ranging from lead characters to supporting roles. The show opens with the entire company on stage, depicting the tragic shipwreck that is the catalyst for the rest of the play through intentional movement, before stepping into their named characters. Quickly, the love triangle begins to take form; Viola (Cameron Holder), disguised as Cesario, goes to work for Orsino (Robert Kittler), eventually developing feelings for him while Orsino is developing feelings for Cesario while also tasking Cesario to be his messenger regarding his feelings for Olivia (Kendall Kent). All this explodes even more in the end, as Viola is reconnected with her twin brother, Sebastian (Julian Cividanes) who is mistaken for Cesario. 

With Olivia still at the center, a new complex web of relationships unfolds - Andrew Aguecheek (Matilda Musser) wants to marry Olivia. Toby Belch (C.J. Craig), Olivia’s uncle and a drinking buddy of Andrew, wants to keep Andrew around to fund his lavish lifestyle. With Olivia’s servant Malvolio (Anna Marzullo) always breaking up their antics, Andrew and Toby, alongside Feste (Claire Hilton), Maria (Kimberly Colisch), and Fabian (Sofia Hernandez Morales) conjure up a plot to seek revenge upon Malvolio. 

There are many other ensemble members who are equally important to the plot, and all deliver phenomenal performances as well. Bridget Campbell (Curio/Officer), Kira Cornell (Antonio), Michael Girts (Priest/Attendant), Lenny Mendez Terceros (Captain), and Olivia Potter (Valentine) all added depth to the production, and each and every member of this company should be so proud of their work. Among the stellar cast, there are a few standouts who have really left extraordinary impressions on me. 

Kendall Kent (Olivia) delivers a standout performance with her over the top (but never too much) character development and humor. Kent has clearly dedicated time to embodying a grieving woman who is also overcome with lust and love, quickly switching between the two emotional experiences with finesse. Her comedic timing is impeccable, leaving the audience to wonder exactly what Olivia might do or say next while they try to follow where she stands with all her suitors. 

Robert Kittler (Orsino) is easily an audience favorite as well, making his big entrance full of quirky dancing and music, enthralling the audience and keeping them locked in till the very end. Kittler has made excellent choices in character development, naturally portraying the love triangle between Orsino, Olivia, and Cesario. Even when not delivering lines, Kittler is entertaining to watch, with priceless facial reactions, attention to detail in body language, and his overall stage presence. It is clear he has a deep understanding not only of the text, but also of how Orsino fits into it all.

Matilda Musser delivers an exquisite performance as Andrew Aguecheek, galloping on and off stage on an invisible trusty steed, and frequently earning lots of laughs from the audience. Musser does a great job portraying the naivety and foolishness of Sir Andrew, completely blind to the fact that he is being used by Toby for his money. Musser’s performance is definitely sticking in my mind as one of the most memorable. 

Anna Marzullo delivers another standout performance in her portrayal of Malvolio, complete with a hysterical shuffle walk whenever she travelled across the stage. Malvolio has a wide array of emotions and situations that he finds himself in, from simply doing his job serving Olivia, to finding the fake letter and completely transforming himself, to being held up in a dark basement. Marzullo expertly developed Marvolio’s character for each situation, and wowed with attention to minor details, comedic timing, and well thought-out and intentional movements. 

One performance I can’t stop thinking about is Claire Hilton’s performance as Feste. When she first entered the stage wielding guitar and ukulele cases, I truly didn’t think there would be music in the performance (as someone unfamiliar with Twelfth Night before this production, and therefore unaware of the importance of music to this show). However, Hilton’s voice was truly made for the stage, with impressive vibrato and a wide range. On top of the vocals, her guitar and ukulele playing were wonderful additions to the show, and I hope that she continues to be in roles where she is able to leverage these skills. 

The direction by Jess Chayes was well thought out, especially when working with minimal sets and costuming, as stage direction and character development is more important than ever to hold the attention and interest of the audience. I really enjoyed the movement direction by Emma Jaster, especially in the first scene, with the use of sharp and choreographed movement to depict the shipwreck. The use of lighting (Minjoo Kim) was well thought out and added great ambiances that allowed the audience to feel the changes in setting, and I really enjoyed the music choices made by Matt Nielson, especially the use of contemporary music where possible, bringing a more modern take to the production, which was easily welcomed by me. 

STC Academy’s production of Twelfth Night is an exciting comedy with a little something for everyone. A long-time Shakespeare aficionado is sure to enjoy the new and minimalistic take on the play, while those newer to Shakespearean theatre will be welcomed in through the laughs and antics of Twelfth Night. This is a production one does not want to miss, and being able to support these students as they complete their Academy education is an added bonus, especially with their professional abilities. 

Run Time: 2 hours and 45 minutes with a 15 minute intermission. 

Reader Reviews

To post a comment, you must register and login.

Need more Washington, DC Theatre News in your life?
Sign up for all the news on the Summer season, discounts & more...