BWW Review: TWELFTH NIGHT Is Farcical Fun at Prime Stage

In his review, Greg Kerestan, who must have have gotten a pretty good education somewhere, manages to work in references to the Wind in the Willows, Charles Nelson Reilly, and Caddyshack.

The cast is uniformly excellent, but the greatest burdens fall upon the leading players of the two sections of the show. Bouncing back and forth between the character of supposed-eunuch Cesario and lovesick maiden Viola, Carolyn Jerz is believably both boyish and a clear leading lady; rather than affecting an especially masculine speaking voice or way of moving, she trusts to her own body language and allows the Cesario character to be a little bit on the fey side. In a stroke of brilliant casting, director Andy Kirtland has cast Malcolm MacKenzie, late of The Mousetrap, as Viola’s lost twin Sebastian; both MacKenzie and Jerz affect a similarly androgynous onstage presentation and body language, making this one of the few times that a Viola and a Sebastian can actually be confused realistically for each other. (“Watch for her cheekbones,” I heard one audience member say to her genuinely befuddled companion.) –Greg Kerestan, Broadway World Review

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