The 2023 Summer Season at Marin Shakespeare Company closes with TWELFTH NIGHT
Adapted and Directed by Bridgette Loriaux
Adrian Deane as Feste transports us into an almost otherworldly setting with her wit, shimmering presence, and almost magical control of any situation.
-Jarion Monroe
Also outstanding is Deane’s Feste. Deane plays the fool with sensitivity and depth. Her remarkable talent for song and dance elevates an already excellent performance.
Adrian Deane behind the scenes before opening an evening perforance of Marin Shakespear’es TWELFTH NIGHT.
Feste sings. Costumes by Bethany Deal. Photo by Jay Yamada
Adrian Deane is a sober Feste the jester, fretful and compassionate, here made Viola’s confidante in lieu of one of the several minor characters cut out of this adaptation. Deane’s Feste also sings some powerful renditions of the play’s songs, in keeping with the melancholy vibe of David Warner’s haunting music.
Marin Shakespeare’s 2023 TWELFTH NIGHT, Photo by Jon Tracy (Producing Directing)
And Adrian Deane’s gentle Feste is also delightful.
The amazing thing about Twelfth Night, I think, is the extraordinary growth arc experienced by each and every character, and, in this production, this is abundantly clear.
SF Chronicle Review by Lily Janiack
Orsino (Johnny Moreno) and Cesario (Stevie DeMott). Photo by Jay Yamada
Another thrill of the show, which I saw Sunday, Aug. 13, at Forest Meadows Amphitheatre, is Bridgette Loriaux’s direction.
If eros is everywhere in Illyria, so is meanness. Director Loriaux is wise enough to let those two sit side by side without needing to resolve them. Some on the isle can walk off into the sunset hand in hand with their lovers; others can only look downward, legs dangling off the lip of the stage. But even for them, life isn’t over; there are many nights yet after the twelfth.