THE VIRGINIAN-PILOT
Copyright (c) 1995, Landmark Communications, Inc.
DATE: Thursday, December 7, 1995 TAG: 9512050103
SECTION: NORFOLK COMPASS PAGE: 18 EDITION: FINAL
TYPE: Theater review
SOURCE: MONTAGUE GAMMON III
LENGTH: Medium: 76 lines
The Shenandoah Shakespeare Express breezed into town for one night with a high-spirited version of ``Twelfth Night'' that delighted, entertained and gave an object lesson in the energy, commitment and talents required of the truly professional actor.
Whatever show this peripatetic repertory troupe does on its next visit, every person interested in good theater should hope it stays here for more than one performance.
It was easy to think, a half-hour into the play, that this was how ``Twelfth Night'' should always be staged. Of course, there is no definitive approach to such a rich comedy, but the aptly named Express company provided a virtuoso staging in the style that might be called ``condensed classic.''
Roles were doubled up - 11 actors played 15 parts - and dialogue was gently edited. The condensation was hardly severe; even moderately strong familiarity with the text revealed no obvious gaps.
The story of twins, a young woman and a man cast ashore separately after a shipwreck, remained intact. Indeed, their adventures in the land of Illyria, along with the palace intrigues, romances of nobility and revels of servants into which they are thrust, were more clearly followed than in some longer and more traditional versions.
The players appeared in modern garb, black and white, but for a colorful sweater, tie and cap outfit that was used to mark the likeness of the brother and sister, and yellow stockings gartered with red ribbons that Malvolio is duped into wearing.
The set was only a few darkly painted cubes about two feet on each side. A few musical instruments, one framed portrait, a bouquet of flowers, a rope and a couple of pieces of paper were all the properties they needed.
This was performance compounded of actors' suggestion and audience imagination, liberally laced with finely executed physical humor.
The focus was the broad comedy of the tipsy Sir Toby Belch, the silly Sir Andrew Aguecheek, the fool Feste, the serving wench Maria, and their conflict with the humorless, pompous steward Malvolio. While the plot intertwined love stories and comedies of disguise remained the frame on which the action hung, the rollicking good time offered by the quartet of comedians was the show's driving force.
The vivacious acting of all the cast was touched with carefully crafted detail and a smooth command of language. The four comics' strong reliance on stock character gave their personalities a flavor of familiarity, as if each was someone one had known.
For all the virtuosity displayed by the deadpan and multi-talented Scott Duff (Feste), the pert Michelle Powers (Maria), the rubber-faced Matthew McIver and Darius Stone (Sir Andrew and Sir Toby), some of the most impressive acting came in the less flashy roles.
Margaret McGir found a rich foundation for her part of Olivia, the noblewoman who will admit no suitor while she mourns her brother, that made some of her simplest line readings absolutely riveting. As Viola, the female twin who disguises herself as a boy and then falls in love with the Duke, Hep Jamieson offered a sense of sincerity and freshness.
In any production Malvolio is always the officious prig one loves to mock. Thadd McQuade got his nasty, stuck-up egotism just right, without losing the ability to evoke temporary sympathy for the cruel way he is treated when the clowns get the upper hand. His final line, ``I'll be revenged on the pack of you,'' carried a force that is rarely evident.
This was no idle threat born simply of petulance. Shakespeare was exhibiting a gift of prophecy, not irrelevant today. The Puritans, with whom Malvolio was associated, did close England's public theaters for almost two decades.
It would be a treat to see this small company stage one after another the four or so scripts they keep in repertory each season. Certainly they could fill a larger hall than the Virginia Wesleyan Theatre, though one would hate to lose the intimacy and audience interplay that such a venue offers. Their approach is ideal for students who are getting their first taste of Shakespeare. Won't someone please coax them into a longer stay next year? by CNB