What You Will: And What a Delight! EXPLiCIT's Twelfth Night

The cast of EXPLiCIT’s Twelfth Night. Back, from left to right: Reggy Granovskiy, Arabella Camuñez, Joyce Kim, Damian R. Wilson, Daniil Asafov, Lihang Zhou. Middle: Mahak Mathur, Max Gorbachev, Cai Tong Ng, Carol Cyr, Ting-Juan Liao. Front: Eric F. Smith, Solvin Sigurdson, Sullivan Braun.

Watching William Shakespeare’s Twelfth Night is always a delve into the delightful confusion between desire, identity, and illusion, in a dramatic comedy that plays with what we feel and how we show ourselves.

In the production directed by Miranda Stewart, presented at the Ramo Auditorium between April 25th and 27th by EXPLiCIT (EXtracurricular PLayers at the California Institute of Technology—the ‘i’ is imaginary), the 1601 classic from the Elizabethan era gains new life with freshness, rhythm and a staging that honors the carnival spirit of the work without losing its emotional depth.

You probably already know the story behind Shakespeare’s play: Twelfth Night refers to the twelfth day after Christmas, specifically January 6th. At the time, this marked the end of the Christmas festivities, which were celebrated with a carnival and anarchic spirit, with music, drinking, eating, and pranks. In this scenario of theatrical freedom, Shakespeare created an ingenious comedy that explores humor and love.

Viola, a shipwreck survivor, disguises herself as a man (Cesario) and begins to serve Duke Orsino, who is in love with Olivia. But Olivia is enchanted by Cesario, without knowing that he is, in fact, Viola. And it is in this game of deception and crossed desires that Shakespeare delves deeply into the absurdity and beauty of passion.

Damian R. Wilson delivers a captivating Duke Orsino immersed in the delirium of unrequited love. His vocal presence gives the Duke a passionate solemnity. At the same time, the broad and calculated gestures reinforce the theatrical tone of the figure who loves the idea of ​​love more than the woman herself. Wilson creates an Orsino who is romantic and blind in his obstinacy.

Mahak Mathur, as Viola, elegantly and subtly balances the comedy of farce with the tenderness of a woman in love hidden behind a disguise. Mathur stands out for her silences charged with emotion; her strength lies in her expressive and precise looks, which reveal the character’s internal conflict.

Arabella Camuñez brings Olivia to life with a confident and engaging stage presence. From her first appearance, she imposes herself with a firm voice and a naturalness that captivates. Her gestures are spontaneous, never excessive, and reveal an actress at ease on stage, capable of authentically inhabiting the character. Her Olivia does not sound caricatured or rigid, but deeply human.

Solvin Sigurdson plays Feste with a luminous lightness, making the fool much more than just comic relief, but also a poetic conscience of the play. His soft, tuned voice beautifully cradles the songs, and there is an evident confidence in his performance: Solvin carries a serene, almost magical joy in his body, and he is spontaneous without losing his stage strength.

Max Gorbachev dominates the stage as Malvolio with an imposing presence that borders on a hurricane; his presence is captivating from the moment of his first entrance. His strong voice projects authority, and his body and facial expressions are meticulously honed, creating a rigid and vain character. His performance captures attention and gives depth to the character who, even when ridiculed, arouses empathy from the audience.

Sullivan Braun embodies the character Sir Toby Belch with charisma. He naturally portrays the disorder and unbridled joy, delivering a striking and firm performance. He is quick with his lines, spontaneous, and has excellent comic timing. Sullivan maintains clarity in his intentions and builds a Sir Toby who entertains with authenticity.

Eric F. Smith plays Sir Andrew Aguecheek with ease and a well-tuned comedic flair, especially in the scenes where he partners with Sir Toby. Together, the two form a hilarious duo whose clumsy and absurd dynamics provoke genuine laughter from the audience.

Cai Tong Ng shines as Maria, bringing her performance an irresistible balance between humor and arrogance. She is hilarious, funny, irritating, and graceful. Maria is more than a cunning lady-in-waiting: she is a character who articulates comedy with intelligence and charm. She is a true highlight of the production.

It was a joy to watch this production and, even more so, to write about it. This review also carries an emotional responsibility since I know dear people who made this play happen. But the truth is that honesty is written with ease when art is well done. I am pleased to say I saw a committed, creative, and generous work. It is a classic play that, under inspired direction, gained momentum and left the audience, and me, wanting to return to it.

Despite being a 17th-century work, Twelfth Night continues to speak directly to our times, addressing with humor and sensitivity what has always made us human: the complexity of relationships. Miranda Stewart’s direction hits the nail on the head by offering a lively, original, and personality-filled production. Instead of merely presenting a classic comedy, Miranda stamps her signature with sensitivity, acid humor, and a confident direction directly reflected in the cast’s delivery. There is a palpable dynamic between the actors, a complicity that shines through on stage and reveals talent, and an atmosphere of trust. It is as if the joy of being together, guided by a clear and generous vision, brings out the play’s truth, rhythm, and vitality. The way the characters interact clearly shows that the direction not only guided but also illuminated each actor’s path. Miranda Stewart incorporates contemporary elements into the staging, without disrespecting the essence of the original text.

The visual and sound elements of the production accompany the free and vibrant spirit of the staging. The set design, lighting, and music are precise, well-measured, and aesthetically harmonious. Each choice complements the play’s tone, enhancing its expressiveness without ever overshadowing the actors. The costumes, in particular, stand out for their creativity. With references to the classics but reinterpreted with a touch of humor, a hint of modernity, and an intense color palette, they reinforce the playful and farcical character of the production.

The audience responded enthusiastically to the production, with loud laughter echoing throughout the Ramo Auditorium throughout the performance. The contagious energy between the stage and the audience created a vibrant atmosphere where time did not pass. The connection between the actors and the spectators was one of the great strengths of this production, demonstrating how Shakespeare, even after more than four centuries, still has the power to connect us through laughter and emotion.

The production team featured Cai Tong Ng as Assistant Director, Sofia Lyon as Stage Manager, Seri Jane Kim as Assistant Stage Manager, Laura Flower Kim as Producer, Joyce Hutter as Set Designer, Linda Muggeridge as Costume Designer, Crystal Dilworth as Movement Director, Max Gorbachev as Sound Designer, and Edvar Bautista as Light Board Operator. EXPLiCIT would also like to thank Eitan Levin, Brian Brophy, Steve Kim, David Seal, Ariane Helou, Hyesung Park, Caltech’s OcTech, and the staff of Ramo Auditorium.