‘Twelfth Night’ review: Chicago Shakespeare serves joy and laughter with a breezy Caribbean air

Set in the sunny Caribbean, Chicago Shakespeare Theater’s current iteration of “Twelfth Night” is breezy and bouncy, like a reggae beat paired with a rum drink. Directed by Tyrone Phillips, a first-generation Jamaican American, the production is informed by authenticity and infused with the sincerity of nostalgia, allowing viewers to ease into this silly tale like a well-worn pair of flip-flops.

Phillips does excellent work creating a well-crafted universe that doesn’t feel arbitrary like some Shakespeare re-imaginings. Exploring themes of love, both romantic and communal, this inclusive version feels vibrant, warm and nourishing. 

The foundation of this production is the outstanding ensemble. Everyone is charismatic and engaging, and the comedy crackles, buoyed by witty physical comedic choices that amplify the story thanks to movement director Sadira Muhammad.

Jaeda LaVonne leads the production as the young Viola who disguises herself as a man, Cesario, kicking off Shakespeare’s standard and predictable gender-swapped love triangle. The fun is in the journey, not the revelation, and LaVonne plays the role with a lovely balance of sincerity and mirth that makes it possible to suspend disbelief as she places herself into service as a page for the Duke Orsino, played as endearingly insufferable by Yao Dogbe.

Orsino sends Cesario in his stead to woo the hand of countess Olivia (an absolutely riotous Christiana Clark, playing the role with a self-assured command). Of course, Cesario falls in love with Orsino, and Olivia falls in love with Cesario, and hijinks quickly ensue.

The supporting cast is just as strong as the leads. Most notably, Paul Oakley Stovall steals nearly every scene as the uptight Malvolio, throwing delicious shade on everyone, much to the audience’s delight. He’s able to leverage the slightest smirk or movement, and the emotional weight he brings to the dramatic arc of Malvolio’s queer-coded character anchors the comedy in a sobering examination of the cruelty people can inflict on those who express themselves flamboyantly, outside of societal conventions

In the one non-comedic scene of the play (hauntingly illuminated by lighting designer Xavier Pierce), Feste dons the affectation of a preacher who has come to bring false salvation in Malvolio’s time of need, a scathing commentary on the role of the church in the oppression of the LGBT community. Israel Erron Ford is delightful as the jester Feste, who has the voice of an angel and stuns as he leads the cast in renditions of heartbreakingly beautiful Bob Marley and Sting classics. 

Adding to the comedy is the hilarious trio of Sir Toby Belch (Ronald L. Conner), Fabian (Shelby Lynn Bias) and Sir Andrew Aguecheek (Alex Goodrich), delightfully drunken fools whose bumbling antics deliver belly laughs. It is impossible to overstate the level of ridiculous fun these three are having onstage. Rounding out the cast are Adam Poss as Antonio and Justen Ross as Sebastian, offering a beautifully devastating portrayal of unrequited love that tugs at the heartstrings.

Outrageously garish and fun costume design by Christine Pascual alongside the effervescent scenic design by Sydney Lynne elevate this performance into a special treat for fans of laughter and joy. Minor quibbles with the production include the choice to have some characters deliver their lines upstage, and a slight lull in energy once the bard enters the perfunctory wrapping-up of the storylines.

Beyond that, this is a production that succeeds on every level, and director Tyrone Phillips has ensured that even if you can’t escape Chicago for the Caribbean this fall, you can still have a sunny taste of the tropics at Chicago Shakespeare Theater.