The Warehouse Theatre’s 50th season commenced on September 8th with a vibrant rendition of Shakespeare’s “Twelfth Night,” a production that immediately captivated audiences with its modern twist and compelling performances. Directed by Jayce T. Tromsness, this rendition of the classic comedy infused contemporary elements, starting with a surprising and evocative opening.
Stepping into the theatre, the meticulously crafted set immediately drew me into the world of Illyria. Thor Bailey’s set design was rich with detail, featuring flower-laden walls, delicate red curtains framing the stairs, and footlights adorned with clam shells. For someone unfamiliar with “Twelfth Night,” like myself, the set design alone sparked anticipation for the narrative about to unfold.
The performance began unconventionally, yet powerfully. A single ghost light illuminated the stage, casting a stark yet intimate ambiance as the cast collectively sang “Mad World” by Tears for Fears—a song instantly recognizable by its poignant lyric, “all around me are familiar faces.” This unexpected musical choice, far removed from traditional Shakespearean scores, resonated deeply. Once their hauntingly beautiful rendition concluded, the ghost light extinguished, plunging the audience directly into the play’s world, a world now subtly colored by the melancholic yet familiar tones of the opening song.
The strength of this production lay heavily in its cast. Guillermo Jemmott Jr. delivered a particularly noteworthy performance, skillfully embodying the dual roles of Duke Orsino and Sir Andrew Aguecheek. These characters stood in stark contrast to one another – Orsino, the epitome of seriousness and nobility, and Sir Andrew, the embodiment of playful foolishness. Jemmott masterfully differentiated these roles through distinct mannerisms and physicality, to the point where the realization that both were portrayed by the same actor only dawned later in the first act, necessitating a double-check of the program to confirm the impressive feat.
Each member of the ensemble brought unique physical and behavioral traits to their characters, enhancing their watchability and comedic timing. Christina Rose Yasi’s Malvolio was characterized by a stiff, almost robotic gait, feet turned outwards and hands rigidly held, even as the character descended into madness. Tinasha LaRaye, in her Warehouse debut as Olivia, offered a humorously expressive portrayal, complete with defiant tongue-sticks during arguments and frequent exasperated hand gestures. Brock Koonce’s Sir Toby Belch was a highlight, embodying mischievous drunkenness with comedic brilliance, a prankster through and through.
The modern sensibility of the production extended beyond the opening song choice. Contemporary handshakes and props, such as a mini hand clapper, a modern bicycle wheeled across the stage, and trendy sunglasses, were seamlessly integrated, adding layers of humor and relatability. Furthermore, the actors frequently broke the fourth wall, engaging directly with the audience. Yasi’s Malvolio running through the aisles while reading the infamous letter and directly handing her gloves to an audience member for a fleeting moment of safekeeping were particularly memorable instances of immersive theatre.
Alicia Varcoe’s lighting design and Margaret Caterisano’s costume design, with assistance from David Jones ‘25, were crucial in establishing the play’s immersive atmosphere, working in harmony with the set. Varcoe’s lighting employed rich, deep hues that perfectly complemented the mood of each scene. Actors themselves sometimes manipulated floor-level lights near the audience, creating impromptu spotlights or framing scenes, further drawing the audience into the performance. Caterisano’s costumes effectively communicated social hierarchy – the elaborate lace and velvet of upper-class characters like Olivia and Sir Andrew stood in stark contrast to the simpler attire of lower-class characters such as Antonio, enriching the visual storytelling.
The opening with “all around me are familiar faces” immediately set a tone that was both familiar and unsettling, a perfect entry point into a play that explores themes of mistaken identity, love, and madness within a comedic framework. The Warehouse Theatre’s “Twelfth Night” is not just a play; it’s an experience, expertly delivered by a talented cast and crew. This production is a testament to the theatre’s commitment to innovative and engaging storytelling, and a fantastic start to their 50th season. Running through September 24th, this is a show not to be missed.
Flowers adorned the walls in the set design for Twelfth Night
Guillermo Jemmott Jr. as Duke Orsino and Sir Andrew in Twelfth Night
Christina Rose Yasi as Malvolio reading the letter in Twelfth Night
