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Twelfth-Night-Program.Pdf SYNOPSIS By Rachel Mihalko After being shipwrecked at sea, Viola makes it to shore in a different country with the help of the captain, but her twin brother Sebastian is nowhere to be found. Stricken with grief and yearning for a way to start over, Viola hatches a plan to disguise herself in imitation of her brother, planning to serve the duke of this new land. Quickly earning the duke’s trust in the guise of a man, Viola, now identifying herself as Cesario, is sent to woo the noblewoman Olivia on behalf of Duke Orsino. However, Olivia is dealing with her own grief and has grown tired of the messengers sent regularly by the duke, long before Viola’s entrance as Cesario. Can Viola ever persuade Olivia to accept Orsino’s love? Viola begins falling for the duke, all the while pursuing another woman for the very man she has grown to love. A love triangle develops between Duke Orsino, Olivia, and Viola/Ce- sario. Will Duke Orsino win Olivia’s love through the persuasion of Cesario? Or will Olivia continue to pursue Cesario, unaware that he is actually a she? And how will Viola move forward through her grief as mistaken identities continue to create cha- os in the new life she has created as Cesario? Will her brother ever be discovered, dead or alive? Follow this intricate story of deception and mistaken identity, and, in the words of the bard, you will surely “laugh yourself into stitches.” CAST & CREW Viola.................................................................Sullivan Hogan Meagan Jaeger (understudy) Olivia...................................................................Takiya Briton Kat Pinkston Maria..............................................................Caroline Adcock Mo Sparks Orsino/Soldier #1..................................................Ben Murray Micaiah Rogers Malvolio.................................................................Jacob Beals Sir Toby Belch.................................................Dr. Alfred Custer Dr. Gavin Richardson Sir Andrew Aguecheek...................................Jonathan Cooper Feste the Fool.......................................................Isabella Gray Sebastian.......................................................Kristin Klonowski Joey Echeverria Antonio..................................................................Mary Hardy Luke Mills Curio/Soldier #2.................................................Charis Murrey Chase Piner Valentine.............................................................Sarah Blevins Servant to Olivia................................................Meagan Jaeger Captain/Priest.................................................Dr. Alfred Custer Dr. Gavin Richardson John Klonowski Director...........................................................John Klonowski Asst. Director...................................................Rachel Mihalko Stage Manager.....................................................Sarah Blevins Costume Designer................................................Kristin Beard Scenic Designer...............................................John Klonowski Props..........................................................Madison McCarthy Marketing & PR................................................Sullivan Hogan Costume Consultant...........................................Nicole Snover Costume/Makeup............................................Anna Meadows, Lydia Burrell, Timia Bonds House Manager........................................................Julia Burks Covid Officer..........................................Dr. Gavin Richardson Scene Shop Crew...........................MJ McGavin, Katie Devers, Mary Hardy, Jacob Beals What We Fall in Love with When We Fall in Love Dr. Gavin Richardson Note: The following essay contains spoilers. In 1981, Raymond Carver wrote the devastating short story “What We Talk About When We Talk About Love.” In the story, two couples drink way too much gin and explore the variet- ies of love—the sweet, the vulgar, and the violent. In the end, they all sit in a dark room, glasses empty, with bruised hearts palpably beating. Fortunately, Shakespeare’s Twelfth Night is far more festive than a Carver short story; nevertheless, the Renaissance playwright seems to be working out within the framework of his last, great comedy that most basic of hu- man questions: What do we fall in love with when we fall in love? Is it physical attractiveness? The gift of communication? A soulmate for completion? Or do we fall in love simply with the improbable prospect that someone might love us? The intricately woven plot of Twelfth Night poses as many questions as it answers. Readers can find plenty of summaries of the play, but for our purposes, this précis shall suffice. A young woman, Viola, is shipwrecked on the shores of Illyria and immediately resolves to disguise herself as a man (“Ce- sario”) and take a position as courtier to the Duke Orsino. For his part, Orsino is one lovesick puppy, pining away for the love of the Countess Olivia. Such love gives us the play’s famous opening lines: “If music be the food of love, play on; / Give me excess of it . .” Audiences often misinterpret these lines, believing Orsino to be reveling in love’s hedonistic splendor. But Orsino’s desire has a more melancholy end. Just as someone can get sick from consuming too much of a delicacy, Orsino wishes to be so glutted on the food of love that he no longer craves it. Why? Because his unrequited love for Olivia is a source of great pain. Orsino is the moody Emo King, half in love with love itself. Olivia is the ostensible target for his love, but she intuits that what Orsino desires is some abstraction of her love and not she herself. She wisely keeps him at arm’s length, sending emissary after emissary packing. As for Olivia, in some ways she is a Renaissance Kar- dashian—a great beauty thoroughly accustomed to the obse- quious flattery of men who want access to her person and her purse. To Olivia, Orsino’s overtures are just more of the same. Only when the proxy wooer Cesario (Viola) explodes love’s conventions with unaccustomed sincerity does Olivia take notice. Shakespeare implies that only a woman really knows how a woman wishes to be wooed, and when Cesario tells Olivia how he would woo her if he were allowed free rein (he would “Halloo [her] name to the reverberate hills . .”), Olivia is smitten. But what is Olivia falling for here? Cesario’s androgynous beauty? Or the fact that someone, finally, has broken through love’s tired clichés to reach her very heart? The Kardashian comparisons end here. Olivia is not a vapid, silly woman. When she removes her veil to show her fabled beau- ty, she cynically comments, “[W]e will draw the curtain and show you the picture. Look you, sir, such a one I was this pres- ent. Is ‘t not well done?” (1.5.233-235). It might be tempting to read this statement as simple vanity from a woman who’s hot and knows it. But that would be a mistake. This is the language of a woman who has grown accustomed to the objectifying male gaze and who is all too aware of the patriarchal values that render a woman a possession, like a painting to be ac- quired and hung on a wall in a Duke’s den. Cesario’s personal indifference to Olivia’s beauty must seem both a challenge and a relief. Is this what Olivia falls in love with? The fact that, finally, someone sees her as a human being to be loved, not an object to be acquired or bedded? Olivia’s breathless response to Cesario and her indifference to Orsino reveals that there is something wrong with his affection for Olivia—a disordered affection that is paradoxically correct- ed when Cesario comes into his employ. Orsino seems intu- itively drawn to the woman within, describing Viola/Cesario thus: Diana’s lip Is not more smooth and rubious; thy small pipe Is as the maiden’s organ, shrill and sound, And all is semblative a woman’s part. (1.4.31-34) The fact that Viola has taken the outward form of a man un- doubtedly inspires some romantic confusion in Orsino, if not panic. But just as Viola awakens something in Olivia, she does the same to Orsino. There is a kind of perceptual chiasmus at work here. At the play’s outset, Orsino is caught up in the externals of love and cannot see into the real thing, but when Viola comes into his life, he somehow responds intuitively to the real thing despite some pretty convincing externals. In- stead of a melancholy love for love itself, which is ultimately a kind of narcissism, Orsino has his affections directed outward to something close and real—a living woman with a beating heart. When Cesario is revealed to be Viola at the play’s con- clusion, we might say that Orsino’s metamorphosis is com- plete as well. And what about Viola? Much of her action has its motivation partially occluded. We may rightly wonder why the ship- wrecked Viola thinks it’s a good idea to cross-dress as Cesario and serve Orsino in the first place. It may be that Viola con- siders herself vulnerable as a single, unprotected woman in strange land. Or perhaps the cross-dressing comedy simply has to happen for the plot, so we aren’t invited to think too much about it. Yet Viola’s obscure motivations may be a touch of verisimilitude. Each of us lives in the prison house of the self. Do we ever really know what motivates someone else’s love? Still, we may be forgiven for wondering exactly what it is about Orsino that sparks Viola’s love. The fact that he is rich and handsome doesn’t hurt his chances. But the noble Viola probably could have any
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