In 2023, a New Hampshire school system banned a production of William Shakespeare’s Twelfth Night, subtitled What You Will, stating that it “encouraged homosexuality” because of its cross-dressing characters.
The romantic comedy, which contains the honored lines of the Bard, including ““Be not afraid of greatness. Some are born great, some achieve greatness, and some have greatness thrust upon ’em,” and “Why, this is very midsummer madness,” is a play that, though it contains no references to or scenes of Christmas, was supposedly commissioned for production at the end of that holiday season.
“The play centers on the twins Viola and Sebastian, who are separated in a shipwreck on the coastline of Illyria. Viola (disguised as a page named “Cesario”) falls in love with the Duke Orsino, who in turn is in love with Countess Olivia. Upon meeting Viola, Countess Olivia falls in love with her, thinking she is a man.”
Sounds farcical? It contains many segments which, as Shakespeare oft did, were filled with humor and melodramatic opportunities.
“Some modern scholars believe that Twelfth Night, with the added confusion of male actors and Viola’s deception, addresses gender issues “with particular immediacy.” They also accept that its depiction of gender stems from the era’s prevalent scientific theory that “females are simply imperfect males.”
Yes, Twelfth Night does explore gender identity and sexual attraction, and having a male actor play Viola enhanced the impression of androgyny and sexual ambiguity. Also the role of young men and boys would be played by males as was the custom of the day. Homosexuality? No. A little cross-dressing? Yes!
“In the comic subplot, several characters conspire to make Olivia’s pompous steward, Malvolio, believe that she has fallen for him. This involves Olivia’s uncle, Sir Toby Belch; another would-be suitor, the squire Sir Andrew Aguecheek; Olivia’s servants Maria and Fabian; and Olivia’s fool, Feste. Sir Toby and Sir Andrew engage themselves in drinking and revelry, disrupting the peace of Olivia’s household.”
GLT’s production, under the direction of Sara Brunner states in her program notes, “Our production illuminates how grief and joy are not opposites but rather are intimately linked.”
She accents the dramatic and comic, and throws in some farcical interludes. Not as many as is common in other productions of the script, thus cutting down the chance for hysteria. This restraint may account for the polite, rather than screaming standing ovations that often conclude other stagings.
Courtney O’Neill’s curving levels, which create the illusion of continuous water movement, work well. They are enhanced by Rich Martin’s lighting. Mieka van der Ploeg’s ageless perky costumes work well.
The cast is universally strong. Grayson Heyl (Viola/Cesario), and Nic Scott Hermick (Sebastian) are believable as the twins. James Alexander Rankin makes a perfect fool of himself as squire Sir Andrew Aguecheek. Dar’Jon Marquise Bentley well fits that role of Sir Toby Belch.
CAPSULE JUDGMENT: Twelfth Night gets a pleasing production at GLT. It could have been enhanced by broader farce and more joyous attitude. As might be said of the New Hampshire Board of Education that banned the play, “The fool doth think he is wise, but the wise man knows himself to be a fool.” (As You Like It).
Twelfth Night continues at Great Lakes Theater, in performance at the Hanna Theatre through April 6.
For tickets go to greatlakestheater.org or call 216-241-6000.
Next up at GLT: Noises Off, the uproarious backstage farce, April 25-May 18.
[Written by Roy Berko, member: Cleveland Critics Circle & American Theatre Critics Association]
