Bukola Ogunmola and Gyasi Silas (foreground) with David Melville, Darian Ramirez, and Carene Rose Mekertichyan in ISC's production of Shakespeare's Twelfth Night at the Old LA Zoo in Griffith Park. (Courtesy of Grettel Cortes Photography)
Bukola Ogunmola and Gyasi Silas (foreground) with David Melville, Darian Ramirez, and Carene Rose Mekertichyan in ISC’s production of Shakespeare’s Twelfth Night at the Old LA Zoo in Griffith Park. (Courtesy of Grettel Cortes Photography)

Twelfth Night 

Reviewed by Lara J. Altunian 
Independent Shakespeare Co. 
Through September 1 

RECOMMENDED

Celebrating 16 years of free outdoor public festivals, The Independent Shakespeare Company (ISC) has successfully brought to life another of The Bard’s well-known classics with their production of Twelfth Night, or What You Will. This early 1600s rom-com about twins, love triangles, and cross-dressing is among the English playwright’s funnier works, and is still widely enjoyed by audiences today. ISC’s updated Jazz-era spin on the timeline keeps the play fresh, while their smart use of site gags and creative ad-libs makes some of the now-obscure Elizabethan innuendos accessible.

A shipwreck leaves the young Viola (Bukola Ogunmola) marooned on the island of Illyria. Believed to have lost her twin brother Sebastian (Kelvin Morales) in the crash, she decides to start fresh and find work in order to survive in her new environment. Viola enters into the local Duke Orsino (Gyasi Silas)’s service by disguising herself as a man named Cesario. Chief among her duties is relaying messages from the duke to wealthy Countess Olivia (Melissa Chalsma), who is in mourning and completely disinterested in Orsino’s advances. The countess, however, quickly finds that she is attracted to Cesario. In turn, Viola, falls madly in love with the duke.

A myriad of misunderstandings leads to sticky situations aggravated by the characters’ passionate desires to attain the objects of their affections. Hilarious antics ensue, most of which are the result of meddling from secondary characters — chiefly Olivia’s drunken cousin Sir Toby (Lorenzo Gonzales) and her gentlewoman Maria (Sabra Williams). Together with the countess’s unsuccessful wooer Sir Andrew (Xavi Moreno) and her fool Feste (director David Melville), the two play a trick on Olivia’s austere and unpleasant steward Malvolio (William Elsman). As the most serious member of the household, Malvolio looks down upon the rest, chiding them for throwing unruly late-night parties and acting silly. The group finds out about his secret feelings for the countess and devises a plan to make him think she is returning his favor.

The humor ranges from slapstick to clever, then vulgar, ensuring there’s a little something for everyone. Each performer also embodies memorable quirks to enhance their character’s comedic timing. Ogunmola delivers some of Viola’s more important lines with plenty of flavor. Gonzales and Moreno are excellent in their portrayals of scheming buffoons who cause more trouble than they’re worth. Chalsma’s hysterical version of Olivia is hilarious. Elsman’s every onstage appearance triggers uproarious laughter from the audience, thanks to his dynamism as the unsuspecting Malvolio.

Melville’s inclusion of 1930s music adds an exceptional quality to the story, forming the baseline for the setting and brilliantly tying in Shakespeare’s stage directions to include live playing. His selection of lesser known songs are spot-on interpretations of the characters’ lovesick feelings, charming spectators into caring more about their aspirations rather than fully dismissing their foolhardiness. Especially when paired with surprisingly affable dancing.

Lia Wallfish and Maeve Kiely’s costumes reflect each role’s personality well, while recognizably falling in line with the fashion of the decade. Natalie Morales’s simple scenic design and Bosco Flanagan’s lighting enhance the cast’s well-directed movement across the expansive stage.

For some, three hours may be a long time to sit and digest Shakespeare, but this fairly modern, well-interpreted version of a feel-good play is worth a gander.

 

Old Los Angeles Zoo (near the Merry-Go-Round), 4730 Crystal Springs Dr., Griffith Park; Wed.-Sun., 7 p.m. (no perf. certain days — check online schedule); through Sep. 1. (818) 710-6306 or https://www.iscla.org/festival-2019. Running time: three hours with one 15-minute intermission.