Review: St. Louis Shakespeare Continues Season With Charming Production Of TWELFTH NIGHT

Though Shakespeare's comedies are generally a mixed bag, and often filled with rather bleak and tragic outcomes for some of the participants, Twelfth Night is, for the most part, one of his better comic plays. It's a funny little tale built around some familiar Shakespearean elements like: twins, shipwrecks, cases of mistaken identity, cross-dressing, etc. And, this amusing trifle receives a well performed and delightful staging in the latest production by St. Louis Shakespeare.

Viola and her brother Sebastian are shipwrecked and separated, so that each is completely unaware of the other. Viola disguises herself as a boy (Cesario), complete with mustache, in order to work as a page for Orsino, the Duke of Illyria. But, she doesn't count on falling in love with him, even though he's actually in love with the Countess Olivia. To complicate matters, the Duke sends Viola as his emissary to woo the reluctant Olivia. Naturally, Olivia falls in love with Cesario. This tangled web of romantic intrigue is all wrapped up neatly in the end, and it's a great deal of fun getting there.

Courtney Merrell does fine work as Viola, who transforms into Cesario, and her scenes fending off the advances of Olivia are especially well played. Vanessa Waggoner is at her best when she's pursuing Cesario, exuding a genuine lovestruck quality that captivates. But Khnemu Menu-Ra is a bit ineffectual in role of Orsino, never quite matching the energy level of the rest of the cast.

Aaron Orion Baker steals the show as the much put-upon Malvolio, Oliva's stuffy steward. Though he takes himself much too seriously, he's certainly undeserved of the treatment he receives here. Kelley Ryan is also very good as Maria, who's employed in Olivia's household. She hatches a scheme to drive the straight-laced Malvolio to distraction by penning a love letter in Olivia's handwriting.

Additional comic support is provided by: Richard Lewis, who brings forth chuckles as the aptly named Sir Toby Belch; Tom Glessner, who's way over the top as Sir Andrew Auguecheek, but somehow still manages to make me laugh; and Philip Leveling as Feste, the fool (and also Fabian).

Carolyne Hood's direction is well executed for the most part. A few scene transitions are a little clunky, and the action does slow considerably during the protracted ending (a common problem among Shakespeare's comedies), but the overall pace is fairly brisk. Hood is aided by Lex Van Blommenstein's evocative scenic design, which conjures up the 1920's era where this particular version is set, and Nick Moramarco's straight forward lighting scheme. Jennifer Krajicek's costumes also add the perfect period touch.

St. Louis Shakespeare has mounted a perfectly charming production. Twelfth Night continues through August 16, 2009 at the Grandel Theatre.

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