Twelfth Night

FSU/Asolo Conservatory gives Sarasota an autumn Twelfth Nightin pretty much the same youthful spirit and modernity, including musical performance, as PLATO Arts did at The Golden Apple Dinner Theater last summer. Only this show’s done up with sleeker scene (tiled black-and-white plus red- shuttered, more lush (and expensive) costumes, and mostly actual Shakespearian dialogue.

Aside from adding unnecessary lyrics and music too, both the original plot and the genius of the plotter are discernible. It may be that “Over the Rainbow” signals the end of the beginning storm we never see, but the substitute’s a stretch. I also miss the traditional wind-up dance. (Why no Margaret Eginton choreographic contribution?)

The story comes across clearly. Twins Viola and Sebastian are separated by storm and think each other dead. But he’s saved by Antonio (handsome, hearty Benjamin Williamson) who’s out of favor with Duke Orsino (Cale Haupert, listless and elocuting). Viola (Maxey Whitehead, beautifully projecting her conflicted feelings of love for Orsino but obligations to woo her rival), in masculine guise as Caesario, finds service with Orsino. He sends her to ply his suit with Olivia (Amanda Lynn Mullen, both haughty and likeable).

Olivia, who’s also sought after by Sir Andrew Aguecheek (Zlatomir Moldovanski, over-acting, especially as a drunk), falls for Caesario. The knight is egged on by Olivia’s uncle Sir Toby Belch (Brian Nemiroff, better than Andrew but perhaps still too young and better looking than Orsino). The silly men join with servant Maria (convincing conniver Tori Grace Hines) to trick Olivia’s servant Malvolio into thinking she’s in love with him and wants him to wear silly clothing and smile continually. He’s later confined as a madman -- cruelty often explained as merely satirical because Malvolio represented Puritanism. But Reginald K. Robinson conveys him not only comically overreaching but finally with such dignity and understandable indignation that he merits our sympathy.

Of course, identities get revealed, the couples who are right for each other get together and Antonio is pardoned. Among the changes that stand out are Jefferson McDonald’s doubling as a fine pianist and the importance given to servant Curio (crispy, businesslike Kristen Lynne Blossom, also in the minor role of Fabian).

Like Blossom, Lucy Lavely assumes a role usually played by a man. As Feste, she’s a sexy jester, whether with a sultry voice singing while stretched atop a piano or shaking her booty performing Feste’s hi-jinks. She’s a major conveyor of the importance of money in Illyria, which director Greg Leaming hasn’t skipped over and which fits his take on a sex, drugs (alcohol), and rock’n roll motif.

Lighting, all important in the production’s slick but minimalist set, happily brings Rick Cannon back to work with the Conservatory after retiring as its scenic designer. “Mod” use of kitchenware simply distracts from the well-staged fight scene.