Janus cast delights in 'Twelfth Night'

Purists may take issue with the liberties director Sean Hargadon takes with Janus Theatre's quick and breezy production of “Twelfth Night,” Shakespeare's comedy about mistaken identity, deception and infatuation.

Hargadon's pleasingly pared-down production runs less than two hours, including intermission. Setting such a brisk pace doesn't leave actors and audience members many opportunities to luxuriate in Shakespeare's language. Some subtleties are lost, but the narrative itself doesn't suffer. Frankly, I imagine audience members unfamiliar with the play may find the straightforward storytelling appealing.

Additionally, the emphasis on broad comedy eclipses the themes of unrequited love, grief over the loss of a loved one and the sting of betrayal that underpin the play and give it its emotional resonance. Yet, Janus' jaunty “Twelfth Night”-lite makes for a delightful evening of theater. Most importantly, it achieves that resonance where it must, in the touching reunion between separated siblings Viola and Sebastian and in the imprisoned Malvolio's transformation from prideful to pitiful.

Much of the credit rests with the cast, a fresh, engaging ensemble that includes several actors new to the suburban scene. Among them is the charming Liz Vanderhoof whose winning, self-assured performance as the resourceful Viola anchors the show. Here's hoping we won't have to wait too long before we see Vanderhoof onstage again.

After a shipwreck claims the life of her beloved brother Sebastian (the disarming Corey Noble) and strands her on the island of Illyria, Viola (Vanderhoof) disguises herself as a boy, re-christens herself Cesario and goes to work for the lovesick nobleman Orsino, played with the right touch of melodrama by Ross Patrick Frawley.

Orsino is in love with the aloof Lady Olivia (Kathleen Donoghue) who is herself mourning her late brother. Olivia rejects him and her other suitors, including the wealthy Sir Andrew (Justin Schaller), a foppish knight whose pursuit is encouraged by Olivia's uncle, the hard-drinking prankster Sir Toby (Chris Bibby). Undeterred, Orsino enlists Cesario to woo Olivia, who falls in love with Cesario, who herself is in love with Orsino.

Caught up in the romantic machinations is Olivia's ambitious, stuffed-shirt steward Malvolio (fine work by Joe Hoover, who elicits both our scorn and sympathy), tricked by Toby and his fellow pranksters into believing Olivia is in love with him. Caleb Donat is earnest and quite affecting as the loyal Antonio, Sebastian's friend and servant who suffers the most from Viola's charade. Presiding over it all is Tyler Thompson's perceptive Feste, a droll, grunge rock troubadour who entertains Illyria's aristocrats playing the ukulele and a portable phonograph. Thompson, another actor who deserves greater exposure, has a casual charisma perfectly suited to the “Fool” who, of course, is the least foolish character in the play.

The action unfolds in an intimate, sparsely furnished space consisting of Persian rugs and sateen pillows, and defined by gauzy, white drapes.

The set underscores the company's contemporary take on the romantic comedy classic, which benefits from some amusing shtick, including a rousing version of Billy Joel's “Piano Man” sung by a drunken quartet at a neighborhood watering hole.

“Twelfth Night”

★ ★ ★

Location: 8th floor of the Elgin Art Showcase, 164 Division St., Elgin, (847) 841-1713 or janustheatre.wordpress.com

<b>Showtimes: </b>Runs in repertory with “The Importance of Being Earnest,” at 8 p.m. Thursday, Friday and Saturday and 3 p.m. Sunday, through Aug. 28

<b>Running time: </b>About two hours, including intermission

<b>Tickets: </b>$15

<b>Parking: </b>Street parking and municipal lot parking available

<b>Rating: </b>Suitable for most audiences