‘Twelfth Night’ goes Hollywood at OCC

Tom Titus

Over the years -- nay, over the centuries -- Shakespeare’s plays have

been transplanted to just about every conceivable spot on Earth (and

once, a local production of “Comedy of Errors” unfolded on another

planet).

No such relocation, however, has been accomplished quite so

enjoyably as Orange Coast College’s production of “Twelfth Night,”

which is being beamed down in Hollywood during the era that spawned

such classic movies as “Gone With the Wind” and “Casablanca.”

Given its theme, a comical love story replete with drunken pranks,

the Tinseltown of the late 1930s and early ‘40s serves as an ideal

backdrop, and director Alex Golson has mounted a splendid production,

brimming with talent and imagination. As a bonus, Golson has added

some atmospheric material of his own to approximate the zany bustle

of a motion picture set in this era, utilizing a plethora of walk-ons

from the college’s drama department as various studio functionaries.

In Golson’s concept, Shakespeare’s Duke Orsino becomes a martinet

movie director, complete with megaphone and high-top boots, and

Rudolph J. Niemann plays this role for all it’s worth, and then some.

Niemann balances his authoritative and hopelessly romantic natures

exceptionally well.

As Viola -- the shipwrecked lass who disguises herself as a man in

service to Orsino to carry his love messages to the fair Olivia (in

this rendition, a glamorous movie star) -- Emily Rued beautifully

sustains the charade while taking on more than the surface trappings

found in most of Shakespeare’s gender-bending plays. Olivia’s

illustrious diva is beautifully interpreted by Nancy Troia, who

injects more estrogen into the role than is normally present, with

gleefully effective results.

Two supporting performers who nearly walk off with the proceedings

are Teddy Spencer as the officious Malvolio and Amanda Kukuk as

Olivia’s brassy assistant, Maria. Spencer is powerful and hilarious

as he falls victim to a typical Shakespearean comic plot, while Kukuk

employs a delicious Noo Yawk accent to underscore her tough cookie

character.

David Scaglione, who also designed the terrific period setting,

doubles as the tippling prankster Sir Toby Belch -- turning in a

riotous performance on reportedly late notice. James Barrett cringes

convincingly as the mousy Sir Andrew Agueecheek, while Richard Scott

Thomas acts as a more traditional accomplice in chicanery.

Sean Engard, who’s stolen many an OCC show, continues his sly

larceny as Feste, Shakespeare’s fool who becomes a pianist in the

local incarnation, matching wits with other characters and usually

prevailing. Christopher Geer is a strong Sebastian, the sailor who

rescues Antonio (Aaron W. Bennett) from, we must assume, the ravages

of the Pacific Ocean. Bennett is particularly effective in his

slam-dunk wooing of Olivia (since the ground has been laid, as it

were, by his own sister).

Scaglione’s old Hollywood setting and Cynthia Corley’s conforming

costumes (a few dozen of them) link with Rick Golson’s lighting

effects to provide a splendid atmosphere. Even playgoers who shrink

at the mention of Shakespeare will find themselves slapping their

knees at this one.

If you’re particularly fond of old movies, be sure to arrive early

and enjoy the pre-show sound effects, lifted from the movie

“Casablanca.” This could be the beginning of a beautiful friendship.

* TOM TITUS reviews local theater for the Daily Pilot. His reviews

appear Fridays.