By Jessica Jean Myer
I am still floating from my experience getting to see any theater at all right now, but Creekside Theatre Fest‘s production of Shakespeare’s Twelfth Night was truly the perfect outdoor theater escape I didn’t think was possible in Covid-19 times.
As far as a socially-distant live theatrical experience, I don’t know if I could have thought of a situation more naturally suited than Heritage Park’s setup. The stage and actors are separated from the audience by a small creek. The production team takes care to section off the grass in socially distant portions suitable for different size groups (probably no larger than five people). The crew all wear masks for the duration of the evening and the night that I was there, most audience members wore masks as well. Even after reaching out to the director and production team to find out whether my experience would be typical, they were ready with clearly defined safety protocols that are outlined in more detail below. All this to say that as an audience member, my newly-developed agoraphobia wasn’t triggered in the slightest. I personally felt more comfortable in that audience than I have at any grocery store since all this nonsense started.
In this Shakespearean crowd-pleaser, Viola (Liza Shoell) and her brother, Sebastian (Eli Ghaeini) are fraternal twins shipwrecked in the unfamiliar land of Ilyria. Each set out to find their own way thinking the other is dead. Most of the action and hi-jinks of this story come from Viola’s decision to disguise herself as a man in order to become a servant to the Duke Orsino (Jordan Nicholes). Shoell as Viola does a wonderful job creating sincere relationships that unify the plots and subplots of the journey throughout, but one of my favorite moments with her came during the duel she and Sir Andrew (Spencer Hunsicker) are forced into later in the play. Liza’s physicality handling the sword she was using is simple, effective, and expertly executed. The fish-out-of-water but capable character becomes so human–and side-splittingly funny–with Shoell’s skill.
Nicholes as Orsino draws the audience in early by speaking directly to us as he laments his unrequited love for Olivia. He does a fantastic job with nuances of the character, and I found myself rolling my eyes at him one minute and rooting for him the next. Jeanelle Huff’s comic timing is impeccable as Olivia. She plays both her straight man and comic parts to perfection. Her ability to ambush the audience with a quick one-liner means she didn’t have to be flashy to exude authority.
Olivia’s same understated but compelling presence is also reflected in Rachel Nicholes‘ handling of the character Maria. Maria is the conspirators’ sly cruise director, facilitating the fun that the group has at Malvolio’s expense. Like the character, the way Rachel conveys her plans leaves no doubt of the character’s wit and ability to stay in control.
Trev Davis’s Malvolio speaks for itself. Some of Malvolio’s behaviors are over the top and Davis does not hold back when the occasion calls for being bold, but I was also so impressed with how grounded he turned out to be. Malvolio is still as cringey as ever, but he is also sympathetic in Davis’s interpretation. My heart went out to him much earlier in the play than I thought was possible.
There were so many expertly crafted moments in the show. Director Chris Hults, more than bringing this incredibly talented cast together, seems to have kept a strong focus on relationships. The rapport between characters of each interaction drew me into the party in every scene. One part I can’t get out of my head was when Sir Toby Belch (Kevin Peterson), Sir Andrew (Hunsicker), and Feste (Kristian Huff) sing a raucous harmony together. It’s a messy-on-purpose delight that sets you up to root for their exploits later on. The same care taken in group scenes like this seemed to be taken with the dynamics of Orsino’s and Olivia’s attendants as well (played by Courtney Moreland, Brooke Wilkins, and Julie Hendricks). Sebastian and Antonio, (Eli Ghaeini and Joleah Long, respectively) are charming together. Long’s sincerity and Ghaeini’s wide-eyed, fun-seeking attitude is the perfect combo for that relationship. The chemistry and cohesion between all of these groups is enviable.
Finally, I wouldn’t feel that this review was complete without mentioning the costumes and music. Jess Wallace Neilsen’s costuming is beautiful and cohesive. I didn’t see any piece or character that looked like they didn’t belong and the focus on luxe fabrics and bold shapes kept my interest against an otherwise minimal set. I cannot emphasize enough though that the unexpected star of the show is the music. Those of us who love and watch Shakespeare regularly know that you can expect a little musical interlude from the characters now and then. I don’t always think of those songs as a particularly exciting feature of even my favorite shows as it’s occasionally felt like an afterthought or like it was put together with less time than we originally intended. This could not have been the attitude for music directors Maren Hansen and Zach Hansen. The accompaniment and lyrical phrasing is done so carefully and the melodies they came up with are truly beautiful. The fool, Feste (K Huff) sings the most in this show and his angelic voice leans itself perfectly to the music that the Hansens composed. At some moments, the song sounded so full that I’d find myself peeking back at the musician’s table to make sure there were still only two of them. My one issue with the music is that they weren’t selling recordings of it in the back after the show was over.
I can’t stress enough what a lovely little interlude this play is and what a nice time I had. For anyone seeking a little escapism and a way to get comfortably out of the house during such a frustrating time, I would get out and see Creekside Theater Fest’s Twelfth Night in Cedar Hills.
Creekside Theatre Fest‘s presents Twelfth Night by William Shakespeare.
Heritage Park, 4425 W Cedar Hills Dr., Cedar Hills, UT 84062
July 20-25, 2020 8:00 PM
Tickets: $18 Adults, $15 Seniors, $12 Children 11 and younger. Bring a blanket or chair (chair seating is further from the stage.)
Creekside Theatre Fest Facebook Page
Twelfth Night Facebook Event
Creekside’s Covid-19 Policies:
- Audience must stay in seating boxes painted on the hill that have six feet between them.
- Masks are encouraged, especially when entering and exiting the theater.
- No concessions available to minimize gathering places.
- No printed playbill. Playbill available here.
- Tickets must be purchased online and no printed versions are available.
- No cash or money exchanges.
- Cast will not come out to greet in groups after the show.
- Separate entrance for high-risk groups. High-risk groups also have the option of being seated 15 minutes before doors open if they request this.
- Before cast and crew members arrive, they report their temperature and if they have any symptoms each night at 4:00 PM.
- Any symptomatic actor will stay home and the part will be played by one of their many understudies and swings will step in. All roles are covered.
- Actors wore masks in rehearsals up until final techs, and wear them backstage and before and after the show.
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