Twelfth Night at the Folger is so innovative that you might mistake it for the latest work of that talented young playwright William Shakespeare. Love transcends gender, grief contains the promise of healing, and the joy of creativity transports us into a world alive with desire.
Director Mei Ann Teo invites us to “fall in love with the differences between us.” Currently an artistic leader at Ping Chong and Company in New York, Teo approaches Twelfth Night as a new play, with spectacular success. The production takes place here and now, in (where else?) Washington, DC, on a set inspired by Brutalist architecture, with echoes of sea-soaked military batteries and the clubs of Berlin. (Scenic design is by David I. Reynoso.)
At first is the famous shipwreck, during which the twins Viola (Lilli Hokama) and Sebastian (El Beh) are separated. Each one believes the other has drowned. The cast, under long swaths of plastic sheeting, move like waves. There is thunder. Music. Dance. Actors in black singing Shakespeare’s line “The rain it raineth every day.”
Viola learns that Duke Orsino (Alyssa Keegan) is in love with the Countess Olivia (Alina Collins Maldonado). Olivia, in mourning for her own brother, has repeatedly refused him. Viola decides to transform herself into a young man, Cesario, in order to serve Orsino. Orsino employs her to woo Olivia on his behalf. Her mission goes about as well as these projects usually do.
Olivia falls in love with Cesario, and Viola/Cesario with Orsino. Olivia’s fool, Feste (Futaba), astonishes all with his wit, sophistication, and singing voice. Other characters will experience love, betrayal, humiliation, and mistaken identities.
Orsino is immediately attracted to Cesario, despite his infatuation with Olivia. He is accompanied by a bevy of smartly dressed servants (Che Kabia, Shubhanghi Kuchibhotla, and Hunter Ringsmith). Another servant, Valentine (Todd Scofield), tells him that Olivia’s answer is, as always, “no.”
Composer Be Steadwell calls Orsino “kind of this Prince (the rockstar, not the royal) meets Lenny Kravitz figure … a tragic, heartbroken rocker.” Keegan has a kind of quiet dignity that belies Orsino’s self-absorption and complicated love life. Their scenes with Hokama as Cesario are especially moving.
Hokama as Viola/Cesario gives a wonderfully original performance. Their double-takes when Olivia attempts to woo them as Cesario are delightfully comic. When Olivia gives them a (very large) version of her picture, Hokama’s expression says, “What the hell is this?” Hokama is capable of deep emotion, too, when describing how Cesario would woo Olivia:
CESARIO: Make me a willow cabin at your gate
And call upon my soul within the house,
Write loyal cantons of contemnèd love
And sing them loud even in the dead of night
Hallow your name to the reverberate hills
And make the babbling gossip of the air
Cry out “Olivia!”
Maldonado’s Olivia presides over a house that has recently survived two crises — the death of her father and the death of her brother. Mayhem has arrived, embodied by Feste her fool, her uncle Sir Toby Belch (Che Kabia), and his “friend” Sir Andrew Aguecheek (Hunter Ringsmith). Sir Toby is extorting Aguecheek for money while encouraging him to pursue his (likely hopeless) suit for the wealthy Olivia.
Olivia retains Malvolio (Nicholas Yenson), a stern and self-satisfied Steward, to keep things in order. Maldonado impeccably inhabits Olivia’s every mood, from her (vast) irritation with Orsino, to her coup de foudre passion for Cesario, to her demented scream of desperation when the (inspired) lunacy of it all finally overwhelms her.
When Sir Toby, Andrew Aguecheek, and Feste are together, the Marx Brothers come to mind. Che Kabia excels as Sir Toby, with his drunken quips, love for frivolity, and predilection for dance and song. As Andrew Aguecheek, Hunter Ringsmith is hilariously comic, fast on his feet, and occasionally poignant in his disappointment. All three have entertainingly startling costumes by Olivera Gajic, featuring ruffs, shorts, garters, and generous amounts of plaid. Feste’s outfit is festooned with neckties.
The three revel in a late-night catch entitled “Hold your peace” or, to put it in modern terms, “Shut up.” Olivia’s lady’s maid, Maria (Shubhanghi Kuchibhotla), protests their caterwauling. Malvolio tells Sir Toby that if his antics continue, the Countess will ask him to leave. Sir Toby reminds him contemptuously that he is only a Steward.
Kuchibhotla as Maria, attired in shiny black with a white ruff, is inventive and quick with what looks like a riding crop. She hatches a scheme to humiliate Malvolio. She will write a letter (her hand is like Olivia’s) — a love letter to Malvolio, supposedly from her mistress. They will arrange to have him find it. Hilarity will no doubt ensue. (It does.)
Yenson is screamingly funny as he reads the letter — he strains to connect the initials M.O.A.I. (the subject of endless speculation by critics) with his name, insults Sir Toby, and proclaims boldly: “Some are born great. Some achieve greatness. And some have greatness thrust upon ’em” (one of several ridiculous Shakespearean quotes that have become cherished proverbs).
There are many twists and turns to come. Sebastian (El Beh) turns out to be alive, which causes mass confusion. Todd Scofield gives a fine performance as Antonio, the ship’s captain who loves him. Director Teo says of Scofield, in our interview with Ravelle Brickman, “He could fall in love with a rock, and I would believe it.” El Beh will later add erotic flair to their encounters with Olivia, which will prove to be … well … kinky.
The choreography by Tony Thomas is, as always, breathtaking. Yenson’s frenzied dance in cross-garters as Malvolio is a memorable highlight. Composer Be Steadwell’s work is simply mesmerizing, featuring the influences of Prince, The Cure, London and Berlin underground dance clubs, and traditional Renaissance music. Music Director and Percussionist Erika Johnson plays live with the cast, who sometimes take the microphone.
The technical and creative teams bring consummate skill and devotion to the production. The sound designer is Justin Schmitz, the lighting designer is Minjoo Kim, and the props designer is Amy Kellett. The beautifully evocative projections are by Hao Bai. Dramaturg Jesse Cameron Alick writes perceptively in a program essay about the undertone of loss that occasionally surfaces.
Gender fluidity, kink culture, unconventionality in all its forms — this Twelfth Night is a feast for the senses, and a glorious endorsement of sexuality and love.
Running Time: Two hours and 30 minutes, including one 15-minute intermission.
Twelfth Night plays through June 22, 2025, at the Folger Theatre, 201 E Capitol Street SE, Washington, DC. To purchase tickets ($20–$84, with many discounts available), go online, call the Box Office at (202) 544-7077, or visit TodayTix.
To see credits for the cast and creative team, click here.
COVID Safety: While Folger audiences and employees are no longer required to wear masks at most events, masks are welcome and remain an important preventive measure against COVID-19. Anyone needing or choosing to wear one is encouraged to do so. Folger’s current safety protocols are here.
Twelfth Night
By William Shakespeare
Directed by Mei Ann Teo
CAST
Olivia: Alina Collins Maldonado
Viola/Cesario: Lilli Hokama
Orsino: Alyssa Keegan
Sebastian: El Beh
Sir Toby Belch: Che Kabia
Feste: Futaba
Malvolio: Nicholas Yenson
Antonio/Valentine: Todd Scofield
Sir Andrew Aguecheek: Hunter Ringsmith
Maria: Shubhanghi Kuchibhotla
Percussionist: Erika Johnson
CREATIVE TEAM
Scenic Designer: David I. Reynoso
Costume Designer: Olivera Gajic
Lighting Designer: Minjoo Kim
Choreographer: Tony Thomas
Composer: Be Steadwell
Music Director: Erika Johnson
Sound Designer: Justin Schmitz
Projections Designer: Hao Bai
Props Designer: Amy Kellett
Voice and Text Coach: Jen Rabbitt Ring
Dramaturg: Jesse Cameron Alick
Casting Director: Danica Rodriguez
SEE ALSO:
Director Mei Ann Teo on ‘Twelfth Night’ as a subversive celebration of love (interview by Ravelle Brickman, May 19, 2025)
Folger Theatre announces cast and creative team for ‘Twelfth Night’ (news story, April 17, 2025)
