(out of 
)Actors' Renaissance Theatre loves Shakespeare. They also love striving toward the impossible by mounting two full productions and a staged reading in repertory over a three week period during their 2000 Valley of the Sun Shakespeare Festival. But, as opposed to the enthusiasm that another non-contract theatre recently had for their production, which resulted in their exuberance countering their inexperience, here, co-founders James K. and Ashley J. Barnard seem to have taken on too much, as the generally low energy level of the cast proves. To mount Shakespeare's Twelfth Night alone is a difficult endeavor, but to add Much Ado About Nothing and three original one-acts is a tall order to those who a) are not classically trained, b) are not full-time professionals, and c) must also contend with day jobs. While the desire is strong, the flesh is weak, which translated to the opening weekend performance of Twelfth Night.
While each of the Bard's comedies are distinctive, Twelfth Night contains many of his trademarks, including gender-bending, unrequited love, separated twins, and foreign lands. This is the famous "If music be the food of love, play on!" piece, where twins Viola and Sebastian have lost each other in a shipwreck off the shores of Ilyria. Viola goes undercover as a young man, and becomes a courtier in the house of Duke Orsino. The Duke is pining over the lovely, but disinterested Olivia, who falls for the seeming young boy while Viola pines over her boss. Meanwhile, her twin brother comes to the court, causing much confusion. The major distinction between this and a Comedy of Errors or As You Like It is a more specific mean-streak in the humor, as embodied in Sir Toby Belch's hilarious-though-unbalanced machinations of the dour Malvolio.
Director James Barnard has inexplicably moved Ilyria to the Arabian peninsula, affecting an Arabian Nights take on the piece. Other than changing the costuming, set, and music choices, the move has no obvious textual reasoning other than the fact that it can be done this way. Worse, the move is generally unsupported by the actors and their offerings. While Shakespeare's work can easily be transported between period and place, such movement should add to the piece, and not feel so arbitrary. This move ultimately seems an academician's choice, and is not well-sustained in production.
The greatest lack of performance energy comes from Mr. Barnard, who is also playing the part of Orsino. Mr. Barnard's way of expressing melancholy over his snubbing by Olivia involves a lot of scowling and looking at the floor. He never seems attached to the proceedings. Better in presentation is Ms. Barnard's Viola, though she lacks the urgency of her character's ruse. Drew Kallen's Toby Belch wavers between enjoyable and underwhelming, never really bringing the audience into his nasty joke. Gregory Smith is a non-entity as the idiotic suitor Andrew Aguecheek, going through the motions without ever drawing the comedy from his character.
There are several solid and impressive performances between these others. The strongest of the cast is Marcus Smith, who does a wonderful job offering both the dour and the delirious sides of Malvolio. His moment of transformation is an absolute treat. Christina Stewart brings life to Olivia, getting absolutely giddy as she discovers her love for the duplicitous Viola. Peter Good is a full-voiced and jovial Feste, effectively taking his fool's situation directly to the audience.
Mr. Barnard's unit set, consisting of a bed, tent and large tiled playing area, elicits the Arabian Nights feel that the cast cannot. Scott Campbell's lighting is workable, in a way that the unbilled designer's odd costumes are not.
Perhaps the fault lays in trying to do too much at one time. Perhaps it is the difficulty of working with performers who are not adept at the Bard's demanding language. Whatever the cause, this group seems to be trying very hard, even as it is spinning its wheels. While ART's desire is obvious, there's something to be said about recognizing limits.
Production Details:
2000 Valley of the Sun Shakespeare Festival including:
Much Ado About Nothing by William Shakespeare
Shakespearean Voices An original work written and directed
by James K. Barnard
and specifically reviewed,
Twelfth Night by William Shakespeare
Actors' Renaissance Theatre
Tempe Performing Arts Center, Tempe
(602) 503-5555
April 28th - May 14th, 2000
