BWW Reviews: First Night of TWELFTH NIGHT Delights at Jobsite

When I arrived at Jobsite Theater on Friday night for the opening of "Twelfth Night," I paused to evaluate my seating options. A very friendly usher came over to me, asked the number in my party, and pointed to a single empty seat front row, to the right of the stage. I asked her if that was the best place for me to be since I was writing about the show, and didn't want the actors to see me scribbling things down. She assured me that I would have a great view, walked me over to the seat, and whispered to the surrounding audience, "Make sure you tell her what you think. She's reviewing the show."

I was very popular after that.

To my right sat a mother and daughter, I learned that the latter had attended American Stage Theatre Company's Shakespeare camp the previous summer, and was very excited to see the show. The girl was young (I no longer have a proper gauge for ages - maybe eight?), and was a bit shy when I asked her about her experiences at camp. She perked right up as we neared the start of the show.

To my left was a woman in her sixties whose enthusiasm was impossible to miss. She told me that the show, staged in 1920s Ybor, invoked many fond memories of her youth. When she was 15 and new to the country, she had worked at Las Novedades, a restaurant whose sign hung as part of the backdrop. "This is Ybor," she said, gesturing to the stage and smiling broadly. "Tampa," she continued. "Needs more small, intimate theaters like this." As the lights dimmed to mark the start of the show, she let out a little squeal and told me to enjoy.

I believe that it's very easy to screw up Shakespeare. His is a language that once fumbled over might as well be gibberish. I'm prepared to lose friends as I type this, but I'm actually not a huge of Will S. Perhaps attending a Shakespeare camp in my youth would've lead me in a different path, but in the past I'd spend so much time sifting through and interpreting the language, that the overall impact of the story was lost.

However, this production seemed covertly aimed at changing my mind. The 13 member cast had a sense of comfort with the words that allowed me to lose myself story. To my surprise, I was understanding the plot without having read the synopsis or (don't tell my professor) peeking through SparkNotes.

Maggie Mularz was absolute perfection as Viola/Cesario. Though "Twelfth Night" is the epitome of an ensemble piece, much of the play's actions rely on a strong Viola/Cesario. It was interesting to see her go from swaggering with machismo as Cesario in one moment, to doe eyed and conflicted as Viola.

The room echoed with laughter the instant Sir Andrew (Jamie Jones) bounded onto the stage. The woman to my left whispered that she thought he was "just great." A gifted physical comedian, Jones managed to draw attention without completely distracting from everything else happening on stage. And with Shakespeare you know there's always 90 things happening at once; gender trickery, the wrong people falling in love, mistaken identity, duels, deceit, et al.

Any scene featuring Sir Andrew, Feste the Fool (Roxanne Faye), and Sir Toby (Ned Averill-Snell) was like a raucous party you desperately wanted to be invited to.

Averill-Snell played a loveable drunkard. The young Shakespeare enthusiast to my right said that he was her favorite because he was "so funny." His performance slayed the text with aptitude, and his scheming interactions with Maria (Ami Sallee) were delightful. Sallee firstly presents herself as rather straight-laced, but that façade is soon shed as her more cunning side is exposed.

Faye's Feste was a treat. Despite playing a fool, Faye carried herself with an ironic dignity that only made her character more appealing. When she demanded that Malvolio (Giles Davies) take away the fool, she spun around and walked away with a kind of indignation that made me laugh embarrassingly loud. There was another particular scene worth noting, where Feste sang for Orsino (Chris Holcom) and company, where the murmurs of content I'd heard throughout the audience completely silenced. Her singing voice was captivating.

Stages should see more of Holcom; his characters are never lacking authenticity. His Orsino was simultaneously pompous, oblivious, and love sick. I was fond of him despite myself; perhaps it was the mustache.

Anyone familiar with Giles Davies knows that he was born and bred to do Shakespeare. His Malvolio was brimming with hilarity from head to toe; from his expressions to the way he pranced across the stage you'll know it once you see it). You should also keep an eye out for his sleepwear.

Katrina Stevenson stuns as Olivia, one of several points of affection. Her vivid facial expressions propel her performance.

Jason Vaughan Evans (Fabian), Edward Gomez (Valentine), Michael McGreevy (Antonio) and Spencer Meyers (Curio/Priest) serve as supporting cast, who each have their own particular moments to shine. I was initially a little disappointed that Meyers wasn't in the play more, but his appearance as the Priest made a little go a very long way.

You may remember Nick Hoop from Stageworks Theatre's "A Few Good Men." He charms as Sebastian, Viola's long lost brother.

Pieces this entertaining cannot exist without strong direction. Hats off to David Jenkins for rounding up an immensely talented group, and producing a show that literally enthralled a group of all ages.

Friday night I had greatness thrust upon me in approximately two hours and forty five minutes. You, too, can take part in the experience. Shakespeare's "Twelfth Night" runs thru February 1st. Seating is open and tickets run approximately $28. Jobsite Theater is located within the Straz Center for the Performing Arts' Shimberg Playhouse, 1010 N Macinnes Pl # NWC, Tampa, Florida 33602.

Photo Credit: Crawford Long

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