What shall we do in Illyria?

Shakespeare's Twelfth Night has been inspiring composers ever since it was first written– indeed, the original play had several songs written for it. This season alone has seen two musical adaptations of the story. One is currently playing The Palace on Broadway. The other enjoyed its regional premiere at the Shakespeare Theatre of New Jersey, and, according to the company's website, received such a "wildly enthusiastic response" that they were moved to record the score, the first Original Cast Recording on their label. And all those who enjoy original, intelligent musicals should rejoice that they did: Peter Mills' Illyria is a lovely journey to a fantasy land, and this recording preserves the ethereal score beautifully.

Mills' adaptation, for which he co-credits Cara Reichel, leaves Shakespeare's original story of separated twins caught in a confusing love triangle largely intact, with only two major changes to the story. Shakespeare's text, however, is scuttled in favor of an original book and lyrics. The decision is a wise one: had Mills tried to adapt his music to existing lyrics, the moments might not have come across as effectively, trapped by the workings of someone else's pen. The fresh re-imagining of the story gives us a new way of seeing these characters and their situations, and opens up the story to new interpretations.

With a gentle, sweet, and properly dream-like score, this recording instantly paints a musical portrait of a fantasy land in which love conquers all. The music sets each moment's mood very well, veering with grace and style between slapstick comedy and heartbreaking drama. The lead singers perform very well, singing not only with strong voices, but with clear emotion. Some standout numbers include Feste's patter song "Silly Little Syllogisms," and the melodically simple but harmonically complex "Save One," a trio for the besotted and unrequited Viola, Olivia, and Orsino. This latter song is one of the highlights of the recording, and with very few changes could enjoy an extended life as a cabaret torch song.

Some songs, however, sound too modern to maintain the illusion: for example, a sassy jazz number in which Olivia attempts to seduce Viola is fun and certainly cute, but feels terribly out of place in the otherwise traditionally Broadway-esque score. Similarly, a number in which the deceived Orsino confesses his love to a recently arrived Sebastian (who Orsino believes is the still-disguised Viola– rather progressive for the period, but this is, after all, a fantasy land) seems not unlike like a Wildhorn power ballad. An old-fashioned music hall number, "Cakes and Ale," is charming at first but, like a certain children's song about bottles of beer on a wall, gets old fast. It clocks in at more than five minutes, and could easily lose two.

While the score is largely effective, the lyrics fare somewhat less well. While some moments are served well by simple lyrics, more complex situations and emotions would be served better by lyrics that are equally challenging. Rhymes also seem to be a foil for Mr. Mills: he sometimes goes for the "June/Moon" variety, or twists a phrase awkwardly around to fit the rhyme in, or passes over a clear chance for a good rhyme in favor of a word that does not rhyme at all.

But these flaws, by and large, do not detract from the overall loveliness of the album. The score is ultimately quite enjoyable, and one can easily get swept away in the comedy and drama of the show. The CD's accompanying booklet offers some very pretty pictures of the Shakespeare Theatre of New Jersey production, a detailed synopsis, and the full lyrics, including all incidental dialogue in the songs. For an hour's respite from reality, pop Illyria into your CD player and prepare for a magical journey.