Review: At least a dozen positives in Shakespeare Tavern’s ‘Twelfth Night’

Deftly directed by Mary Ruth Ralston — a terrific performer who recently starred there in “Hamlet” and “Dracula” — the show’s greatest strength is its ensemble. In a play where mistaken identities are key to the plot, Ralston did an amazing job of selecting Alejandra Ruiz and Roberto Mendez, strong performers who also bear a striking resemblance, to play the central twins, Viola and Sebastian.

Credit: Photo by Jeff Watkins

Credit: Photo by Jeff Watkins

Ruiz is terrific in the lead role of Viola, a showcase that lets her shine with the goofiness, spunk, depth and wit she brought to a variety of original Atlanta productions, including “Oh, to Be Pure Again” and “The Pros and Cons of Killing Your Cult Leader.” She’s funny and heartbreaking here.

Shipwrecked on the unfamiliar shore of Illyria and believing her brother to be dead, Viola dons the guise of a man named Cesario to better navigate society. The island is ruled by lovesick Duke Orsino (Benedetto Robinson), whom Viola begins working for as a page. She also develops feelings for him, despite the ruse.

The duke pines for Lady Olivia (Anna Holland), a noblewoman in mourning for her family. Olivia has spurned all of the Duke’s advances. But when the messages come delivered by Cesario, Olivia quickly develops feelings for the page.

Though Olivia is recovering from woe, the people in her court — including her drunken relative Sir Toby (O’Neil Delapenha), his idiot friend Sir Andrew Aguecheek (Kenneth Wigley), musician Feste (Andrew Houchins) and servant Maria (Amy L. Levin) — are prone to good humor.

Credit: Photo by Jeff Watkins

Credit: Photo by Jeff Watkins

This upsets Malvolio (Tyren Duncan), an arrogant, condescending and puritanical steward who wants to rid Olivia of all the silliness. The gang of jokers all conspire to ruin Malvolio by convincing him of Olivia’s love.

Meanwhile, Viola’s brother, Sebastian, (Mendez) is very much alive and also in Illyria, saved by an amorous, devoted pirate Antonio (Brewer Kunnemann). Gender-bent confusion and queer, romantic antics ensue.

But Ralston’s direction keeps things quickly paced and clarified. Though the characters are unsure about what’s happening, the audience never is.

Credit: Photo by Jeff Watkins

Credit: Photo by Jeff Watkins

The show is also surprisingly sexy at times, when moments of unrequited longing seem to percolate between characters. A scene where Feste is serenading Orsino and Cesario — while they sit next to each other and try not to touch — is charming and electric with sexual tension. Houchins’ work as a musician, performing songs composed by Rivka Levin, elevates the piece from beginning to end, keeping the show light, sweet and romantic.

Fresh off his terrific work in “The African Company Presents Richard III,” Duncan’s broad comic work as Malvolio provides the biggest laughs of the show and its single best scene, when the character changes his entire manner to woo Olivia. Holland’s work as Olivia is very strong, another of her performances infused with verve and attitude.

Everyone is excellent in “Twelfth Night,” though. Robinson has fun as the lovelorn duke, throwing himself around the stage with a flourish in his cape. Mendez does beautiful work with monologues at the show’s end. And there are moments of powerful emotion at the show’s very happy conclusion.

“Twelfth Night” is delightful fun.

THEATER REVIEW

“Twelfth Night”

Through April 27. 7:30 p.m. Thursdays through Saturdays, 2:30 p.m. Sundays. $25-$49. Shakespeare Tavern Playhouse, 499 Peachtree St. NE, Atlanta. shakespearetavern.com

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Benjamin Carr is an ArtsATL editor-at-large who has contributed to the publication since 2019 and is a member of the American Theatre Critics Association, the Dramatists Guild, the Atlanta Press Club and the Horror Writers Association. His writing has been featured in podcasts for iHeartMedia, onstage as part of the Samuel French Off-Off Broadway Short Play Festival and online in the Guardian. His debut novel, “Impacted,” was published by the Story Plant.

Credit: ArtsATL

Credit: ArtsATL

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