================================================================ Classical Voice of
North Carolina Shakespeare’s
Twelfth Night Resides Comfortably in the Jazz Age at Burning Coal by Alan R. Hall December 4, 2008,
Raleigh, NC: As the third play in its current season, Burning
Coal Theatre Company has selected the Bard’s comedy Twelfth Night,
fitting it neatly into the Meymandi Theatre at the Murphey School in
Raleigh. The front of the set is lined
with pillows on which the audience is encouraged to sit. Burning Coal uses
an extremely sparse set that works extremely well, utilizing several
paintings as backdrop and a series of six metal doorframes across midstage
to facilitate entries and exits. Behind these, the audience sees the cast
set in tableaux as the action takes place downstage. The paintings are the work of set
designer Morag Charlton, who uses her art for her eighth set created for
Burning Coal. Even though some of the seven paintings that surround the
set existed prior to the play’s creation, the septet magnificently
complements the work, as one represents, perhaps, the enjoining of twins,
or even lovers; another two paintings, set dramatically on the upstage
wall along with it, could literally be the twins Viola and Sebastian, each
set in a combined environment of fire and water to represent their trials. The seven portraits lend
themselves amazingly well to the interpretation presented. The time, as
represented by the costumes of Kelly Farrow and the sound design of Al
Singer, is the American Jazz Age. This is represented best by singer and
Feste portrayer Yolanda Rabun, who sings several lovely and lively songs
during the work. The play’s director, Rebecca
Holderness, has reduced the cast to a mere dozen if we don’t count the
“FBI.” After their ship is wrecked at sea, Viola (Ashlee Quinones) and
her brother Sebastian (Lucius Robinson) are rescued separately and brought
to Elyria, Viola by a ship’s Captain (James V. Sullivan) and her brother
by Antonio (Myles Scott). Antonio tells Sebastian that he is in peril here
because he once fought against the Duke Orsino (C. Delton Streeter), peer
of the realm. As we know, for her own safety,
Viola dresses in men’s clothes and takes the name of Cesario before she
goes to work in the court of Duke Orsino as a messenger to Olivia (Jenn
Suchanec), who, despite her protestations, owns Orsino’s heart. All
hearts in Elyria, it seems, run to Olivia, as we learn that there are
others who also wish to woo her, including Sir Andrew Aguecheek (Stephen
LeTrent), a truly errant knight, and her own steward, Malvolio (Ian
Finley). Observing and commenting at length about these affairs are a
quartet of rambunctious relatives and servants: Olivia’s boisterous
cousin, Sir Toby Belch (David Dossey); Olivia’s fool, Feste (Yolanda
Rabun); a groom, Fabian (Jeffrey Dillard); and her maidservant, Maria
(Joan J). The FBI referred to above are two agents, complete with
earpieces and dark specs Valentine (Chelsea Lee Gaddy) and Curio (Amanda
Watson), who ultimately take Antonio, a “fugitive,” into custody. Although all cast members acquit
themselves well during the play, it is clear that things are livelier at
Olivia’s house than they are at Orsino’s. Things are gloomy at
Orsino’s and C. Delton Streeter makes us know it. Streeter’s Orsino is
sharp and classy, but he is not a party man. If it were not for the fact
that Olivia is grieving, she might reject this man for other reasons.
He’s just not fun. David Dossey’s Sir Toby Belch,
on the other hand, is nothing but a party man. Dossey and LeTrent, as Sir
Andrew Aguecheek, are both fun-loving clowns, and it is Dossey and his
mischief that make Olivia’s household a much lighter place than it would
otherwise be. Indeed, it is Sir Toby’s overboard antics and a phony love
letter ostensibly written by Olivia to Malvolio — but actually penned by
Joan J’s Maria as a cruel practical joke — that cause the Olivia’s
stuffy steward such grief. When it comes to Orsino,
Suchanec’s Olivia is an iceberg; but she is much warmer toward a fine
figure of a youth named Cesario, Viola’s nom de guerre. Laughs
are had aplenty at Olivia’s expense as well, and most particularly at
her inability to tell apart Cesario and Sebastian, who, as an added laugh,
dress alike but are a full foot apart in height. Viola, for her part, is a fine
servant but is secretly in love with her boss; her silly grin in his
presence reveals as much. This is a fine and near-perfect ensemble,
especially the mechanicals-like quartet of Belch, Maria, Fabian, and Feste,
who are not at all fools but very merry people of the world. A particular note is made here of
the very fine jazz music provided by Al Singer for background and entr’acte,
and the particularly sterling pipes of Yolanda Rabun, jazz singer and able
portrayer of the fool at Olivia’s, the ever-clever Feste. In the opinion
of this reviewer, the tunes provided by Rabun are alone worth the price of
admission. A combination of
spare-but-spacious set, hilarious antics, a full understanding of the plot
by director Rebecca Holderness and her cast, and the fine trappings of the
new Meymandi Theatre at the Murphey School, all combine to make a truly
enjoyable evening of wry and slapstick humor in Burning Coal’s
production of Shakespeare’s Twelfth Night, Or What You Will.
Deepening the evening’s performance is fine music, art, and a superbly
wrought set that makes it all work splendidly well.
Review Number 1
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Review Number 2
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The Independent Weekly Newspaper
Posted on DECEMBER 10, 2008:
TWELFTH NIGHT AT BURNING COAL
The food of love plays on and on
By Kate Dobbs Ariail
William Shakespeare's Twelfth Night famously opens with the glorious line, "If music be the food of love, play on; Give me excess of it." Burning Coal Theatre's new production of this boisterous love comedy is well-filled with music, but not to excess: Our appetite for it does not "sicken, and so die." Instead, it increases each time the witty vaudevillian clown Feste appears, a gorgeous song on "his" sassy lips. Our desire is never surfeited during the too-brief two hours vouchsafed us in the Illyria defined by Morag Charlton's transparent scenic design and large paintings.
The play tells the stories of several loves, but the trials and triumphs of the lovers, would-be lovers and separated siblings take second place under Rebecca Holderness' zestful direction to the clowning and "low" comedy of Feste, Sir Toby Belch and Sir Andrew Aguecheek. Or maybe these three wise men
- played by Yolanda Rabun, David Dossey and Stephen LeTrent - simply steal the show by taking Shakespeare's advice: "Those that are fools, let them use their talents." Aided and abetted by Joan J, in high form as Maria, maid to the lady Olivia, and Ian Finley as the deluded steward Malvolio, this preposterous posse frolics through the play's ridiculous antics and double-edged language with such fine elocution and high good humor that we are left thinking that perhaps laughter is the true gift of the Magi.
But, as suits a play written for the night of the Epiphany (Jan. 6, the traditional 12th day of Christmas), there is plenty to think on concerning transformative love, revelation and rebirth, even if these ideas hardly take ecclesiastical form. The lady Viola (Ashlee Quinones), survivor of a shipwreck in which she believes her twin Sebastian (Lucius Robinson) to have perished, disguises herself as a man for safety, and becomes a servant to the Duke Orsino (C. Delton Streeter), with whom she promptly falls in love. Quinones, who is about as big as a minute, makes an impressive transformation from the bedraggled girl to the courtly young man, "Cesario," whom Orsino sends to plead his suit to the lady Olivia
- who promptly falls in love with "him."
Olivia is played with considerable depth by the beautiful Jenn Suchanec, whose vocal skills are such that though "Cesario" may resist her, no one else possibly can. Certainly not Sebastian, who appears at Olivia's home and is taken by her for Cesario
- and who, to her delight, at last succumbs enthusiastically to her charms. This is slightly confusing, because Quinones and Robinson do not actually favor, there being at least a foot difference in their heights, among other things, but hey, what's one more case of confused identity in this story? The tale hangs upon it. Without that, we wouldn't we get the priceless scenes in which Aguecheek, lusting after Olivia, fights Cesario and later is bafflingly bested by Sebastian. This last is particularly intriguing, because it shows us Lucius Robinson in an unaccustomed role as straight man, to (the usually dangerous) Stephen LeTrent as foolish fop Aguecheek.
Feste gets the final line: "We'll strive to please you every day." If the run of this Twelfth Night continues as it began, the cast will have succeeded in this pledge. Laugh on, Fool.
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