THE FIRST NIGHT OF TWELFTH NIGHT
In writing his great comedy, Shakespeare borrowed from custom, the Elizabethan court, and his own coat of arms.
Twelfth Night had its world premiere probably in 1601. No less than England’s reigning monarch at the time, Queen Elizabeth I, commissioned the play from William Shakespeare as part of her festivities to end the Christmastide season. This final celebration of the holidays was known as Twelfth Night.
Twelfth Night had long been an occasion for merrymaking in all of England. In writing his play of the same name, Shakespeare incorporated many of the old traditions, rituals that went as far back as the Roman festival of Saturnalia.
The Lord of Misrule was the naughty spirit behind the Twelfth Night revelries. Under his mischievous influence the normal order of things got turned upside down: Masters became servants and servants became masters; women dressed as men and men dressed as women; role-playing, mask-wearing, and heavy drinking were all encouraged on Twelfth Night.
Shakespeare put these customs into his sparkling comedy, especially through the character Viola, who disguised herself as a boy. The author then took it a step further by including in the play au courant references to Elizabeth and her court.
Because of the political climate in England at the time, Shakespeare thought it especially prudent to flatter the Queen. Since the guest of honor at her holiday party was to be the wealthy Italian royal Don Virginio Orsino, Duke of Bracciano, one of Twelfth Night’s leading characters was named after him.
Scholars say that the character Olivia embodied some of Her Majesty’s unique qualities. Although known as the Virgin Queen, Elizabeth could be flirtatious and fun. She was also known to be brave and strong. While Elizabeth never expected to run a country, after the deaths of her father and brother, she took control. In Twelfth Night, Countess Olivia also mourned the loss of her father and brother. But in a happy ending perfect for the holiday, she finally found her own true love.
Although Shakespeare used these words mockingly in his play, they could appropriately describe Queen Elizabeth I: Some are born great, some achieve greatness, and some have greatness thrust upon them.
SMART ENOUGH TO PLAY DUMB
William Shakespeare and his company, The Lord Chamberlain’s Men, would have left their Globe Theatre home many times to bring their plays to the Elizabethan court. On Twelfth Night, they performed for the Queen and her guests by the light of a thousand candles in London’s lavish Middle Temple Hall.
As something of a regular at court, Shakespeare would have been familiar with the jesters who entertained Elizabeth, and her father before her, King Henry VIII.
Although called fools, the court jesters of the time had special access to the throne. In creating his complex character Feste, a sometimes melancholy master of word play, wit and music, Shakespeare showed respect for these real “clowns” who were smart enough to know when to play dumb.
Not a “fool” in Twelfth Night, but certainly foolish, is the egotistical steward Malvolio. According to author Katherine Duncan-Jones, Shakespeare himself may have performed the role in the play’s debut at court. In one of the most famous scenes, Malvolio is tricked into wearing cross-gartered yellow stockings. Still funny.
At this point in his career, Shakespeare was doing well enough to buy a coat of arms, which he believed would elevate his family’s status. The crest featured a bird at the top about to open its wings. The falconry term for this is “shaking,” and the bird was also holding a spear. (Shakes-spear, get it?) The emblazoned motto was “Not Without Right” and the shield was bright yellow.
But rival playwright Ben Johnson was outraged at The Bard’s social climbing. Johnson ridiculed the slogan and color-scheme, decrying that the words should be “Not Without Mustard!” In wearing Malvolio’s yellow stockings in Twelfth Night, Duncan-Jones believes Shakespeare was making fun of himself, and that the well-informed audience would have gotten the joke.
At Pittsburgh Public Theater, Malvolio will be played by Brent Harris, who starred as Oscar Wilde in The Public’s world premiere of L’Hotel. Also returning for Twelfth Night as Olivia is Gretchen Egolf, who played title roles here in Candida and the Secret Letters of Jackie and Marilyn (she was Jackie), and Rosalind in As You Like It.
A trio of newcomers to the Public Theater will be introduced in Twelfth Night. As Feste is Carnegie Mellon alum Mitchell Jarvis, who has done everything from Rock of Ages on Broadway to The Rocky Horror Show at Washington D.C.’s Studio Theatre. In the role of Duke Orsino is Timothy D. Stickney, whose Shakespeare credits include King Lear with Kevin Kline and Romeo and Juliet at the Delacorte Theater in Central Park. As Viola is Canadian actress Carly Street, who starred as Vanda in the Toronto premiere of Venus in Fur, and whose Broadway credits include Clybourne Park and Old Times with Clive Owen.
Since the days of the first Queen Elizabeth, Twelfth Night has been considered a masterpiece in comedy. Ted Pappas’ new production promises to be just as fabulously festive and fun.