Twelfth Night Rocks at ArtsEmerson.
Photo: Robert Day
Since its inception in 2010, ArtsEmerson has been committed to bringing a variety of high quality theatrical productions from around the world to Boston. More recently, the theatre’s mandate has been modified to attract an audience that better reflects the diversity of the city. How does the Bard’s Twelfth Night or What You Will, fit into ArtsEmerson’s new vision? The very name Shakespeare is a turn-off for many who struggled and yawned their way through the plays in school.
Enter Filter Theatre and their ninety minute, eight performer abridged farcical version of Twelfth Night, which first opened in 2006 to great success in the UK. The British company specializes in devised works and revising classics. Twelfth Night, however, has been more devised than revised. Taking their cue from the play’s opening line, “If music be the food of love, play on,” Filter emphasizes music – essentially rock – sometimes to the detriment of the play and its poetry. Dialogue and characters are cut or, as in the case of Sebastian, Viola’s lost twin brother, almost so. Consequently, the plotline suffers as does the exposition.
Amy Marchant, a delightful Viola, also impersonates Sebastian in his greatly diminished role. Harry Jardine plays both Orsino and Sir Andrew Aguecheek, a hat the only obvious physical differentiation between the two. As Aguecheek, Jardine is a wonderful comic acrobat. Sandy Foster doubles as Maria, the lady-in-waiting and the clown Feste.
There is much to like and laugh at. In this age of immersive theatre, some of the characters, particularly Sir Andrew Aguecheek, mingle with the audience. Audience members are invited to loan a hat and coat to Viola, wet from her shipwreck experience. Pizza is brought in and offered to the public by the players. A few people, some embarrassed, others laughing, are dragged onto the stage where they, along with Aguecheek, are supposed to catch balls on their heads, thrown at them by an enthusiastic public.
Anachronisms, such as Sir Toby Belch in full Elizabethan dress, while the rest of the cast is outfitted in contemporary clothing, are among the performance’s comic highlights, as is Malvolio. Costumed in his yellow cross-gartered stockings and ill-fitting shiny yellow bikini underwear, he struts and dances about the stage lost in his illusion of desirability. Viola discovers she is in Illyria from a radio weather report.
The stage is set as if for a rock concert rehearsal with tables, a few chairs, electronic devices, percussion stands and other instruments. Junk clutters the floor, taking the audience far from romantic Illyria. The almost constant jazzy rock music is both fun and a spoiler.
That this version is difficult to follow without knowing the play creates a problem for ArtsEmerson’s long-term goal. In all likelihood, the non-theatre going audiences it wants to attract would be confused if they showed up.
Written by William Shakespeare
Created by Filter Theatre
Directed by Sean Holmes
Music and Sound by Tom Haines and Ross Hughes
Performers
Olivia – Ronke Adekoluejo
Feste/Maria – Sandy Foster
Orsino/Sir Andrew Aguecheek – Harry Jardine
Viola/Sebastian – Amy Marchant
Malvolio – Fergus O’Donnell
Sir Toby Belch – Dan Poole
Musician (Drummer) – Alan Pagan
Musician – Fred Thomas
Presented by Arts/Emerson at the Paramount Theatre through January 30, 2016.