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<title>Austinist: Rock Out With Your Codpiece Out</title>
<link>http://austinist.com/2008/08/14/rock_out_with_your_codpiece_out.php</link>
<description>All comments for Rock Out With Your Codpiece Out</description>
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<copyright>2009 Adam S</copyright>
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<title>Austin Live Theatre</title>
<link>http://austinist.com/2008/08/14/rock_out_with_your_codpiece_out.php#comment-1440602</link>
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<pubDate>Tue, 19 Aug 2008 16:59:15 -0600</pubDate>
<description>&lt;p&gt;Twelfth Night offers a richness of fools.  The official jester Feste is the least foolish of them.  As personified by Justin Scalise, Feste is a sober, witty wraith with a fine singing voice.  Far more farcical are Michael Mergin playing rapscallion knight Sir Toby Belch and Judd Farris as the earnest, stupid suitor Andrew Aguecheek (a fine study in slowly firing synapses).  

And then there is Malvolio, the self-important steward who is so cruelly misled by Maria the serving woman (bravo to Jill K. Swanson for her twinkling mischief).  She counterfeits the letter to Malvolio that prompts him to put on ridiculous attire, paint his face, and put on a smile almost painful to observe.  The baiting and humiliation of Malvolio is the dark side of this comedy.  It occurs relatively late in the action; the castle force and jester Feste imprison Malvolio and mock him further; and at the happy resolution of everyone else’s quandaries, the lovely Olivia perceives and explains the cruel trick.  Shakespeare gives Malvolio a horrible exit line:  “I will be revenged on the lot of you.”

So how does a company play that dark vein in this otherwise frothy, colorful confection? In Shakespeare’s day, Malvolio was probably a haughty, hissing horrible guy.  After all, “mal voglio” in Italian is, roughly, “ill will.”  

In this presentation, director Burns and actor Robert Matney are very delicate with Malvolio.  He comes across as thoughtful and gently deluded, that sort of nice guy who is just, well, clueless.  When he has no streak of mean, how do you handle his defeat?  In this presentation, he kneels to Lady Olivia and tenders in resignation the chain that is his emblem of office.  And you choreograph your curtain call as a sort of Morris dance, with Malvolio taking part, as if he didn’t really mean it with that final imprecation.  This doesn’t really resolve the problem, but it reminds us that the evening is all in fun.

Further comment and some images of the impressive scenary -- see austinlivetheatre.blogspot.com&lt;/p&gt;</description>
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