Summer is the time when those of us inside the Beltway head west for hiking, sightseeing, and of course the arts. Among the many, many pleasures and festivals in the Blue Ridge mountains this time of year is the blossoming of summer theater—not only are summer repertories an excellent proving ground for aspiring actors; they’re a great creative opportunity for the artists involved.
This July, there is great fun to be had in Lynchburg, Virginia, at Endstation Theatre Company at Randolph College’s production of William Shakespeare’s comic classic Twelfth Night—the show that, ostensibly, is about a pair of identical twins separated by shipwreck. The two are—of course—joyfully reunited by the end, but not after much cross-dressing, gender confusion, swashbuckling, and booze-swigging. (Cross-dressing? Gender confusion? In the 1600s? Heavens, how woke…).
This unique brand of confusion begins when Viola—played by the ever-resourceful Even Tyree—washes up alone (or so she thinks) in Illyria along the Adriatic coast and borrows a man’s clothing to avoid harassment. Disguised as the eunuch Caesario, she is almost instantly hired by Illyria’s most eligible bachelor, Duke Orsino (James Stringer Jr., whose stalwart portrayal, paired with Tyree’s Viola/ Caesario, invites comparison with Season One of that certain Netflix hit). This being Shakespeare, of course Caesario is instantly smitten with the Duke, but has to hide it because she/he spends most of her time wooing the maiden Olivia on the Duke’s behalf.
Meanwhile, Olivia—played here with relish by Madalyn Macko—spurns Orsino’s every missive, but is smitten almost instantly by Caesario’s outward appearance (Can you say “cougar”? Can you also say, “clueless”? I knew you could). And it doesn’t help that she is hostess to a cousin, Sir Toby Belch (the gregarious Marcus Martinez), whose whale-scale drinking habits have drawn the scorn of Olivia’s puritanical servant Malvolio (the dour, reserved Michael Blackwood).
Unbeknownst to Olivia or Caesario, there is another suitor in the mix—Sir Andrew Aguecheek (The lanky, gawky, charmingly awkward John Williams). Aguecheek has become Sir Toby’s gravy train, and his purse and his hopes are drained to the last dregs through a series of misadventures. Along with what’s left of his dignity (which, truth be known, was doubtful to begin with).
The tensions in Olivia’s house rise to a fever pitch when Maria (the irrepressible Kristina Hinako) plots to humiliate Malvolio by conning him into thinking that Olivia fancies him. A forged letter is all that’s needed to set Malvolio down the path of utter self-induced humiliation, much to the delight of Maria’s partner-in-crime Sir Toby. Attention must be paid, as well, to the parallel story played out in town with Sebastian (Viola’s twin, who likewise thinks he’s a sole survivor) and his bosom buddy Antonio. Wyatt Moore and D’Kameron Edmonson provide something of an anchor in reality here, as straight men (so to speak) to the mayhem and foolery and duels that break out all around them. Well done indeed, given the strange behavior of everybody they meet in this town.
Director Alaina Smith, in a stroke of genius, has chosen to stage this production in Regency style, costumed in early 1800s fashions that fans of a certain (ahem) hit Shondaland series on Netflix will instantly recognize. Savannah Bower has decked the cast in uniform and Regency-period gowns (depending on how the character chooses to be ID’d). And where better to stage it than the grounds of Hope Point, a 200-year-old mansion sitting atop one of Lynchburg, Virginia’s legendary seven hills? The mansion provides a natural setting as Olivia’s own household, with actors entering through the front doorway and generally running around the grounds.
The Hope Point mansion, decked with wisteria, is a place where audiences can sit outdoors on blankets and folding chairs (if you’ve brought ’em). Not only do you get a few welcome breezes off the mountains while you watch the show; you get to enjoy a production that makes full use of the great outdoors—with the cast constantly scampering in and around the crowd, plenty of action in the periphery, wherever you look.
For me one of the absolute highlights of the show is the music—pulled together by Tyree and the ensemble; not only are the song choices apt, but the harmonies they have developed are wonderful to hear, and speak to the best of the British folk tradition—or any other one, for that matter. Led by that master troubadour Feste (played with charm and passion by Kyle Showalter), we are treated to everything from Fiona Apple to Counting Crows and Jim Croce. And that’s just the pre-show and intermission material—all of the songs Shakespeare peppered the play with are truly wonderfully done. Tristan Burke, meanwhile, rounds out the sound design with some nice, classical incidental music between scenes.
The Endstation Theatre Company, based at Randolph College, has been around for some years and has a tradition of staging classics along with contemporary pieces in repertory. This summer, the companion piece is Duncan MacMillan’s Every Brilliant Thing, a one-person show that will alternate with Twelfth Night for the next two weekends.
These days, it pays to get the heck outta DC, to remind ourselves that there is live art and fun to be had, especially if we put some distance between ourselves and the woes back home. Lynchburg is a fine destination for theatergoing, and well worth including on your summer itinerary.
Running Time: Two hours, plus one 15-minute intermission.
Twelfth Night performs in repertory with Every Brilliant Thing through July 14, 2024, presented by Endstation Theatre Company (the resident professional theater of Randolph College) performing at Honor Point, 112 Cabell Street, Lynchburg Virginia. For information and tickets ($10–$25) visit endstationtheatre.org.
