Review: TWELFTH NIGHT at Actors Co-op David Schall Theater

Twelfth Night is an utterly delightful must-see production of the Shakespeare comedy by the Actors Co-op Theatre Company at the David Schall Theater in Hollywood through May 12th.

Uproarious, frothy, silly, naughty, cheeky, and lighthearted, Twelfth Night is a refreshing, irresistibly joyous tonic.  This production by the award-winning Actors Co-op is like taking a long, delicious, sweet Mai Tai sip of Shakespeare on the beach. Just try watching Twelfth Night and leaving the theatre in a dark or grumpy mood - it is impossible.  There is something ineffable and sparkling and effervescent about it.

Classics on stage can get ponderous and self-conscious, weighed down by studious seriousness, as if actors and directors are trying to ace their SATs.  As much as I personally love classic theatre, even I have to admit that it becomes, after a while, a huge deterrent to attending classic shows.  Twelfth Night is a glorious example of how to do Shakespeare right.  This production is full-bodied, fresh, cheeky, lighthearted, inventive, imaginative, and flat-out hilarious.

Shakespeare in particular is tricky — the popular plays have been done so much, and they are very difficult to do right.  The language is a barrier, of course, and capturing Shakespeare’s distinctive comedy blend of puerile slapstick humor, courtly ridiculous shenanigans, and lush lyrical romanticism can be a challenge, tonally. This Actors Co-op production succeeds so beautifully, with a vibrant, large ensemble of terrific actors.

Twelfth Night has a silly, operatic plot of shipwrecks, islands, separated twins, prankish aristocrats, disguises and mistaken identity.  The actors do great work having fun with all this nonsense. Antwon Mason Jr. brings silken charm, fresh delivery, great charisma, and a caramel singer’s voice to the dreamboat duke Orsino.  Chemistry is a bit lacking with Mary Leeholland, who starts out a bit stiff as Viola but then settles into some truly glorious, laugh out loud comedic scenes.  Ben Kientz as Antonio / Captain seems at times like he is in a more serious or different production.  At first I wondered if Jessica Woehler might be miscast as the grieving yet frolicsome Olivia, but then Woehler blew me away with her naughty, emboldened, lovestruck antics.  Woehler is vivacious and irresistible, drawing spontaneous cheers and applause from the audience.  Charismatic actress and singer Chloe Babbes sparkles as the royal jester Feste, funny, wise-cracking, observant, irreverent, and with a musical and dramatic gift that beautifully envelopes the play.  There is something subtly poignant and thoughtful about Babbes’ delivery that brings unexpected depth and resonance.

Isaac W. Jay is a brilliant actor with a delicious dry wit and inventive, deadpan comedy that shines as the mischievous, fun-loving aristocrat Sir Toby.  His subtle comedic reactions are an absolute treat.  I adored Jay’s naughty, sexy chemistry with Britny Horton.  Horton is a miraculously grounded and compelling performer, who re-invents the typical Shakespeare character of the wench.  She is truthful, saucy, full of life, hilarious, wise, and captivating.  I loved her exuberant, creative work.  Their partner in crime, prank-loving Fabian, is played with pitch perfect comedic timing and great warmth by Kevin Shewey, who makes this small throwaway part into something wonderful.

Howard Leder is wondrously goofy and utterly hilarious as the ridiculous nobleman Sir Andrew.  His truly superb delivery of the lines “I was adored once too” and “I can cut a caper” had me falling out of my chair laughing. Leder is an extraordinarily charismatic and deeply gifted actor, with vibrant physicality, foppish, lovable, you simply can’t stop watching him. And his blonde bowl wig by wig/makeup designer Sheila Dorn is a character in itself.

William Viriato delivers what can only be described as a genius performance as stern, stuck-up, day-dreaming household steward Malvolio.  His elegant, languid, impressive ballet moves in his yellow knee socks and his self-righteous, absurd monologues caused me to actually snort uncontrollably.  Viriato is incandescent, fearless, and simply dazzling.  What an incredible talent.  Watching Viriato strut in his knee socks is the funniest few minutes I’ve spent in a theatre, with multiple times Viriato has to pause for the audience’s thunderous laughter and roaring applause.

There is a mischievous, cheeky spirit of fun in the whole cast and production that is infectious. The music by composer and sound designer Thulani Kachingwe is gorgeous, moody, rhythmic, and atmospheric. The delightful costumes by Kelly Tsan add a note of ironic silliness and visual puns.  I could not get enough of the flamingo shirt and ooooohhhh Malvolio’s yellow knee socks. The carefree, vintage, tropical Caribbean island vibe is crafted with a delightful, kitschy flair by Hanalei Vasquez.  My favorite prop choices: goofy umbrellas for swords, copious plastic leis, and yes, tiki mugs.  The lovely interludes of dance from choreographer Royce Correa brings dynamism and movement into the talkiness of Shakespeare’s comedies, and I would have loved to see more dance numbers.  There is vibrant, exquisite work from superb producer Lorinda Hawkins Smith and intelligent, lively, inspired direction from Michael T. Kachingwe.

I recommend this production of Twelfth Night both for lifelong Shakespeare fans and for those who are unfamiliar with Shakespeare, or gun-shy after too many pretentious bad experiences.  This is delightful, accessible, purely joyous Shakespeare for everyone.

What a superb past year this has been at the Actors Co-op. I deeply loved productions like the thoughtful, subtle drama Tornado and the insightful literary pleasures of the historical Lewis and Tolkien play, both searingly memorable and superb in their own ways. I have to say that Twelfth Night might be my favorite Actors Co-op production yet.

Photos by Zak Shelby-Szyszko

Twelfth Night runs at the Actors Co-op David Schall Theater in Hollywood through May 12th.  The theatre is located at 1760 N. Gower St., Hollywood, CA 90028.  There is free parking on site.  You can get tickets by calling (323) 462-8460 or clicking the button below:

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