Review: Short Shakespeare! Twelfth Night (Chicago Shakespeare Theater)

Classical and affordable family fun

If this is any indication, their Short Shakespeare! series is a welcome addition to Chicago's bustling theater scene. Chicago Shakespeare Theater's 90-minute adaptations are family-friendly fun, offering a pre-show warm-up, a post-show talk back and plenty of energy in between. Actors still use the original language, but stories are condensed and physical movement and music supplement the story. Short Shakespeare! Twelfth Night will go on the road in April, visiting schools around the Midwest, but the public run is well worth catching; enjoyable for kids and adults alike.

The gender-bending tale remains the same: young Viola (Rebecca Hurd) finds herself alone in the land of Illyria thanks to a shipwreck. Fearing her twin brother is dead, Viola disguises herself as a young page named Cesario and quickly finds employment with the lovelorn Duke Orsino (Neal Moeller). Orsino is besotted with the countess Olivia (Krystel Lucas), but she refuses to entertain his wooing as she is still in mourning for her brother. Viola then finds herself in an awkward situation - as Cesario, she's sent to woo Olivia on Orsino's behalf, but Olivia falls in love with Cesario. Meanwhile, Olivia's uncle Sir Toby Belch (Ronald Conner) and his sidekick Sir Andrew Aguecheek (Dominic Conti) make merry mischief with the help of Olivia's maid Maria (Lydia Berger Gray) - and steward Malvolio (La Shawn Banks) is in for a surprise.

With its mistaken identities and constant wordplay, Twelfth Night has a lot of moving parts - even more so when the story is condensed to just over an hour. Fortunately, this Short Shakespeare! has an able leader at the helm: director and adapter Kirsten Kelly, who co-founded Chicago Shakespeare's partnership with Chicago Public Schools and adapted Macbeth for Short Shakespeare! in 2015. Kelly incorporates lots of physical movement and music to keep the action moving at a fun but not frenetic pace. Thanks also to verse coach Kathryn Walsh, the actors' speech is clear and present, a welcome introduction to Shakespeare's gorgeous language. They honor the words, but don't intimidate, which is a perfect balance indeed. Scenic designer Scott Davis, costume designer Rachel Healy and lighting designer Greg Hofmann create a bright and colorful palate onstage: a lovely and safe space for actors to play and families to enjoy.

Twelfth Night boasts an ensemble that's impressive and engaging. Lucas is a regal Olivia who's not above grand gestures for comic relief, and Nate Santanashines as Viola's long-lost brother Sebastian. Conner's Belch is a joy to behold, broad and funny with pratfalls aplenty, and Will Mobleydisplays impressive comic timing and vocal skills as Feste, the Fool. Banks' Malvolio is a tour de force: absolutely flawless in execution. The only real, albeit minor, issue, is the casting of Viola. Though she's a wonderful actress, Hurd looks so incredibly young and boyish compared to her two love interests, it's almost uncomfortable to watch. This Twelfth Night gets away with it, as this is a production aimed at kids that downplays the romance and sexuality, but in a full production, such a childlike Viola would be unacceptable.

Casting hiccup aside, Twelfth Night managed to engage a theater full of children and adults - never an easy feat. The Short Shakespeare! series is an excellent introduction to the Bard, and this Short Shakespeare! Twelfth Night is a fun and clever romp with deft direction, beautiful production values and talented actors. Shakespeare himself would approve.

Short Shakespeare! Twelfth Night continues through April 9th at Chicago Shakespeare at Navy Pier, 800 E. Grand (map), with performances Saturdays at 11am. Tickets are $22-$34, and are available by phone (312-595-5600) or online through their website (check for half-price tickets at Goldstar.com ). More information at ChicagoShakes.com. (Running time: 75 minutes, no intermission)

Neal Moeller (Orsino), Colin Morgan (Valentine), Nik Kmiecik (Curio, Priest), Krystel Lucas (Olivia), Ronald Conner (Sir Toby Belch), Lydia Berger Gray (Maria), La Shawn Banks (Malvolio), Will Mobley (Feste, the Fool), Donovan Diaz (Fabian), Rebecca Hurd (Viola), Lynn Robert Berg (Sea Captain, Antonio), Nate Santana (Sebastian), Dominic Conti (Sir Andrew Aguecheek), Lynn Robert Berg, Patrick Budde, Charlotte Mae Ellison, Colin Morgan, Ronald Roman, Kate Marie Smith, Wesley Toledo (understudies)

behind the scenes

Kirsten Kelly (director, adaptor), Scott Davis (scenic design), Rachel Healy (costume design), Greg Hofmann (lighting design), Ethan Deppe (original music, sound design), Melissa Veal (wig design, make-up design), Matt Hawkins (fight choreography), Kathryn Walsh (verse coach), Bob Mason (casting), Carrie Taylor (stage manager), Chuck Osgood (photos)

Tags: 16-0327, Bob Mason, Carrie Taylor, Charlotte Mae Ellison, Chicago Shakespeare Theater, Chicago Theater, Chuck Osgood, Colin Morgan, Dominic Conti, Donovan Diaz, Ethan Deppe, Greg Hofmann, Kate Marie Smith, Kathryn Walsh, Kirsten Kelly, Krystel Lucas, La Shawn Banks, Lauren Whalen, Lydia Berger Gray, Lynn Robert Berg, Matt Hawkins, Melissa Veal, Nate Santana, Navy Pier, Neal Moeller, Nik Kmiecik, Patrick Budde, post, Rachel Healy, Rebecca Hurd, Ronald Conner, Ronald Roman, Scott Davis, Shakespeare 400 Chicago, Short Shakespeare, Wesley Toledo, Will Mobley, William Shakespeare

Category: 2016 Reviews, Adaptation, Chicago Shakespeare, Lauren Whalen, Navy Pier, William Shakespeare