The Rogue Theatre has given us a way to shake off those pandemic blues:
Its delicious production of William Shakespeare’s “Twelfth Night.”
One of the Bard’s sillier romps, the romantic comedy centers on deception, desire and a few serious cases of unrequited love.
Twins Viola and Sebastian are separated in a shipwreck; each thinks the other is dead. To survive, Viola disguises herself as a man, takes the name Cesario, and goes to work for Duke Orsino, whom she quickly falls in love with.
Orsino sends her/him off to woo Olivia on his behalf. Olivia wants nothing to do with the Duke but falls in love with Cesario. When a very-much-alive Sebastian shows up, confusion reigns.
This Rogue production, directed with a fine eye by the company’s co-founder Cynthia Meier, is fast-paced, crisp, clear, and very, very funny.
She was helped by a cast that fully embraced all the joy, outrageousness and quick wittedness that permeates the play.
Carley Elizabeth Preston took on the role of the haughty Olivia, whose disgust for the Duke is only surpassed by her passion for Cesario. It is so nice to see Preston in a lead role — she is a commanding presence on stage and her acting skills keep getting better and better.
Rogue Theatre regulars Bryn Booth and Hunter Hnat gave the roles of the twins Viola and Sebastian with a fervent passion that befits the youthful characters, and Aaron Shand made clear the Duke’s desperation for Olivia’s love.
Chelsea Bowdren has been missing from Tucson stages for awhile, and her return to Old Pueblo should be celebrated. Her Maria, one of Olivia’s servants, is bawdy and clever. Bowdren made it seem as though she was born to play the role.
And then there are the clowns: John Keeney’s Sir Andrew Aguecheek was an endearing buffoon, and Joseph McGrath nailed the role of stuffy and arrogant Malvolia. That character is the object of a cruel joke in the play, and McGrath’s final speech about betrayal is kind of heartbreaking. Often, actors who play Malvolio stick to making him clownish. Allowing us to see his hurt, as McGrath did, gave a poignant twist to the comedy.
Two new faces to The Rogue especially impressed: Michael Levin, a transplant from Flagstaff, made the frequently drunk, sometimes cruel, Sir Toby a constant source of humor. And the colorfully dressed Tyler Page captivated as the often wise, often cruel, Feste, Olivia’s fool.
And a note here about the music: Led by Russell Ronnebaum, the songs and music underscored the action, and the words carried wise messages to the characters. And it was all wonderful.
This Rogue production is 2½ hours of escapism at its best.
And after almost two years of dark stages and dark times, we need that.
