That’s more like it.
Twelfth Night is why I started this project. I had never read it; never seen it. And it was a pure delight. As usual, the nobility in the play — the Duke, Olivia, Viola and Sebastian — are mainly background to the true comedy workings of the secondary characters. The interplay between Sir Andrew, Sir Toby, Maria, Fabian, Feste and Malvolio is the highlight of this frantic play. Their interactions, particularly in the cruel plank played on Malvolio, are hilarious. A good comedy needs a straight man but Twelfth Night features two: the vain Malvolio and the idiotic Sir Andrew, both of whom are played like fiddles for the amusement of Sir Toby.
That’s not to give short shrift to the convoluted romance around Viola. The overbearing melodramatic proclamations of the Orsino and Olivia serve as a sharp contrast to the more practical behavior of the others. Today, the homoerotic aspects — Orsino in love with a boy and Olivia in love with a girl — would be played to the hilt. I’m not quite sure how it went in Shakespeare’s day, with Viola being played by a male actor (a boy pretending to be girl pretending to be a boy). But the plot is tighter than a drum, culminating in a head-spinning Act V when everything finally comes to fruition and then is resolved neatly.
As I think about it, however, my favorite character has to be Feste, the Clown. He is the most intelligent and insightful person in the play, playing his role as a fool perfectly, moving the characters with subtlety and giving the last melancholy lines. He rapidly became one of my favorite Shakespeare creations.
Next Up: The Winter’s Tale