Jay Shah
DevOps\Aerospace Engineer & Journalist
Hello hello and welcome back, fellow theater enjoyers! I recently had the pleasure of attending the magical performance of:
“Twelfth Night“
at Bard on the Beach, located in the enchanting setting of Sen̓áḵw, Vanier Park. This was a delightful journey into Shakespeare’s world of comedy and chaos, brought to life with original music by the celebrated local composer Veda Hille and adapted and directed by the talented Diana Donnelly. For those who missed it, here’s a detailed recap of this unforgettable evening.
Event Recap
A Night to Remember!
The evening kicked off with a buzz as theater lovers gathered under the big tent at Bard on the Beach, perfectly setting the stage for a night of fun and festivity. The venue was spot-on for creating that carnival vibe of Illyria. With mouth-watering finger foods, artisanal cotton candy!, and a selection of fine wines and craft beers, there was plenty to keep everyone’s taste buds happy. The cool breeze from the nearby waters added to the perfect summer night atmosphere, making it an evening to remember.
Date: June 11 to September 21
Venue: BMO Mainstage at Bard on the Beach, Vanier Park, Vancouver
Run Time: 2 hours, 30 minutes (including a 20-minute intermission)
Cast & Crew
This was Diana Donnelly’s debut with Bard on the Beach, but she brought a wealth of experience from her extensive background in theater. Her previous directing credits include “Sexy Laundry” (Arts Club), “The Tempest” (Studio 58), and several productions at the Shaw Festival such as “The Doctor’s Dilemma” and “The Russian Play.” Diana’s approach to “Twelfth Night” was both fresh and respectful of Shakespeare’s original text, bringing a unique blend of humor and depth to the production.
Veda Hille’s original compositions for “Twelfth Night” were nothing short of magical. Known for her work as a musician, composer, theatre maker, and performer for three decades, Veda brought her unique musical vision to the play. Her compositions, inspired by the late singer-songwriter Shane McGowan, German counter-tenor Klaus Nomi, and her own earlier music, added layers of emotion and energy to the performance.
Orsino. Actor with credits including The Sound Inside and Yaga. 
Feste. Actor, songwriter, and musical director. 
Understudy for Sir Andrew Aguecheek, Captain, Ringleader, Curio, Monsieur Topaz. Theatre performer and educator. 
Viola. Actor and improviser making their Bard debut. 
Sebastian, Ensemble. An experienced actor returning for his eighth season. 
Valentine (from Sept. 2). South-Asian actor with extensive theatre and TV credits. 
Madame Mystique and Understudy for Maria, Olivia, Malvolia. Award-winning actor and playwright. 
Malvolia. Actor with notable roles in various productions. 
Maria. Actor, educator, and mentor involved in various theatre productions. 
Antonia. Known for her roles in Little Shop of Horrors and Beautiful: The Carole King Musical. 
Understudy for Viola. A seasoned theatre performer and playwright. 
Sir Toby Belch. Playwright and actor with global productions. 
Understudy for Sebastian, Ensemble, Valentine, Feste. Actor, director, and fight choreographer. 
Curio, Monsieur Topaz and Understudy for Orsino. Actor embarking on his first international tour. 
Evoto 
Sir Andrew Aguecheek. Known for his roles in Bunny and Stupid F*cking Bird. 
Olivia. Theatre advocate and award-winning actor. 
Captain, Ringleader, and Understudy for Sir Toby Belch. Experienced theatre and TV actor.
A Cultural Tapestry
The festival isn’t just about the plays—it’s also about celebrating the rich cultural heritage of the land. Bard on the Beach is nestled on the ancestral lands of the Sḵwx̱wú7mesh (Squamish), xʷməθkʷəy̓əm (Musqueam), and səl̓ílwətaʔɬ (Tsleil-Waututh) peoples. The setting , added an extra layer of magic to the night.
“Twelfth Night” : Performance
A Hilarious Carnival of Chaos!
“Humor,
romance,
chaos,
and whimsical vibes — pure magic!”
-Jay shah
Welcome to the vibrant world of Illyria, where Shakespeare’s “Twelfth Night” takes you on a wild ride filled with mistaken identities, love triangles, and joyful mayhem. This beloved comedy is set during the Twelfth Night holiday—a time of merriment and festivity—perfectly capturing the spirit of revelry and transformation.
The Story
A Carnival of Love and Music
Photo by Tim Matheson
In Illyria, music truly is “the food of love.” Our story kicks off with the dashing Duke Orsino, who’s hopelessly in love with the beautiful Countess Olivia. But Olivia is in no mood for romance, mourning the loss of her father and brother. Meanwhile, a young girl named Viola washes ashore after a shipwreck. Believing her twin brother, Sebastian, has drowned, Viola disguises herself as a boy named Cesario to work for Orsino.
Love Triangle Alert!
Photo by Tim Matheson
Things get juicy when Viola, now Cesario, quickly becomes Orsino’s favorite. She falls for him, but there’s a twist—Orsino sends her to woo Olivia on his behalf. When Cesario (Viola) delivers the Duke’s love messages, Olivia falls head over heels—but not for Orsino. She’s smitten with Cesario! Cue the love triangle: Orsino loves Olivia, Olivia loves Cesario, and Cesario (Viola) loves Orsino.
Enter the Madcap Sidekicks
Photo by Tim Matheson
Adding to the chaos are Olivia’s quirky household members. Her mischievous uncle, Sir Toby, and his foolish friend, Sir Andrew Aguecheek, are bent on causing trouble. With Olivia’s sharp-witted assistant, Maria, and the jester, Feste, they plot to prank the pompous Malvolia, Olivia’s uptight stage manager. They trick Malvolia into thinking Olivia loves her, leading to hilarious antics.
Double Trouble with Twins
Photo by Tim Matheson
Just when you think it can’t get crazier, Sebastian (Viola’s twin brother) shows up in Illyria, alive and well. Mistaken identities lead to more confusion as everyone thinks Sebastian is Cesario and vice versa. Sir Andrew challenges Viola to a duel, and chaos ensues when Sebastian gets involved. Antonia, Sebastian’s friend, steps in, mistaking Viola for Sebastian, only to be arrested for past crimes against Orsino.
Will Love Triumph?
As the mistaken identities and misunderstandings pile up, the big question is: will true love win out? Or will the madness of the carnival keep everyone tangled in knots? Come join the fun at this wonderful festival here in Vancouver and find out!
Historical context & Themes:
Drawing from Italian Inspiration
“borrowed heavily from the Italian play “Gl’ingannati” (The Deceived Ones)”
“Twelfth Night” isn’t just a random burst of Shakespearean genius; it has its roots in earlier works, crafted by the Accademia degli Intronati of Siena in 1531. Adding a sprinkle of real-life inspiration, the character name Orsino might be a nod to Virginio Orsini, an Italian nobleman who visited London around 1600-1601.
A Feast of Festivities
“The actual Elizabethan festival of Twelfth Night would involve the antics of a Lord of Misrule, calling for entertainment, songs, and mummery.”
The play’s title refers to the Twelfth Night after Christmas, also known as the Eve of the Feast of Epiphany. Historically, this was a time of lively celebration and social inversion where servants dressed as masters and men as women, echoing the topsy-turvy nature of the play’s plot. This period of revelry is reflected in the play’s gender confusion and merry chaos, mirroring the festive spirit of the times.
Gender and Identity
“Viola’s persistence in transvestism through her betrothal in the final scene often sparks discussions on the possibly homoerotic relationship between Viola and Orsino.”
Viola’s cross-dressing as Cesario is central to the comedy, highlighting the era’s theatrical conventions where young boys played female roles. This not only added layers of humor but also subtly explored and questioned gender norms. The play’s portrayal of gender is thought to reflect the contemporary belief that women were simply imperfect versions of men, making the characters’ gender-swapping adventures even more intriguing.
Metatheatre and Playfulness
“If this were play’d upon a stage now, I could condemn it as an improbable fiction,”
Shakespeare was a master of meta-theatrical elements, and “Twelfth Night” is no exception. From Viola’s quip, “I am not that I play,” to Fabian’s remark on the plot against Malvolio, the play constantly reminds the audience of its theatrical nature. “The last line of Feste’s final song, ‘And we’ll strive to please you every day,’ echoes the sentiments of traditional English folk plays, reinforcing the play’s ties to performance and entertainment.”
Historical Performances and Legacy
“The play has endured through centuries, adapted and revered across various cultures and formats.”
a rich performance history, with its earliest recorded staging on February 2, 1602, at Middle Temple Hall. Despite mixed reactions, like Samuel Pepys calling it “a silly play” yet watching it three times, the longest-running Broadway production of ‘Twelfth Night’ was Margaret Webster’s 1940 staging, which ran for 129 performances.”
Crafting the Magic of Illyria: The Making of “Twelfth Night”
In a conversation before the performance, Veda shared her thoughts on the project: “It has been a thrill to make music for ‘Twelfth Night’ and to partner with Shakespeare’s language. I find working with these texts very satisfying; they’re such a strong anchor. And now that we’re in rehearsal, I’m just loving being at the site. The light, the air, the actors running around in their fantastical costumes; the romance of theatre is still alive for me, down at Vanier Park.“
Bringing Shakespeare’s work to life is no small feat, especially when it involves a talented team dedicated to creating an enchanting experience. The music, composed by Veda, is a key element in transporting the audience to the vibrant world of Illyria, filled with poetry and chaos.
First Impressions and Thrills
“The light, the air, the actors running around in their fantastical costumes; the romance of theatre is still alive for me.”
From the outset, the project has been an exhilarating journey for everyone involved. The rehearsal site at Vanier Park is a hub of creativity and energy. The actors, adorned in their fantastical costumes, move through their scenes against the backdrop of the park’s natural beauty.
A Confluence of Talents
“When I realized that this was the one that opened with ‘If music be the food of love,’ I was drawn in further.”
The production team comprises seasoned professionals who bring diverse skills to the table. The director, Diana, has a clear vision for the play, particularly in addressing its complex themes around gender. Her collaboration with Veda Hille, who has a rich background in music composition for theatre and dance, ensures that the musical elements seamlessly integrate with Shakespeare’s text.
Musical Inspirations
“It seemed like the show wanted some of that punk energy, and Shakespeare’s lyrics of course are rooted in an English folk style.”
The music for Twelfth Night draws from a wide range of inspirations. Diana initially suggested using Veda’s existing songs, but the play’s themes inspired new compositions. The punk energy of Shane McGowan and The Pogues, the fusion of new wave and opera from Klaus Nomi, and traditional English folk styles all influence the musical score. This eclectic mix perfectly matches the play’s dynamic and multifaceted nature.
Composing for the Stage
“Having the actors sing some of these discoveries makes it more believable for me; it’s not realism, so we can let the music heighten the moment.”
The music needed to set the scene and tone right from the start. The opening song, described as a “pronouncement of thesis,” invites the audience to give themselves over to love and adventure. Additionally, some of Shakespeare’s prose has been turned into songs, enhancing the narrative and deepening the characters’ emotional journeys.
Collaborative Magic
“Watching a run-through and experiencing what Anton and the cast had created was absolutely thrilling. Goosebumps!”
A standout moment for the team was when the music director, Anton Lipovetsky, took Veda’s compositions and brought them to life with the cast. Observing the synergy between Anton’s direction and the actors’ performances was nothing short of magical. The music, paired with the cast’s energy, created an electrifying atmosphere that promises to captivate audiences.
Personal Reflections & Final Thoughts
This extraordinary evening of theater and conversation was truly unforgettable and as someone who’s now attended multiple events in my previous coverage of Vancouver’s theater scene:
The African Dream: A Celebration of Resilience and Hope, showcased the incredible spirit of resilience and the power of dreams. Much like “Twelfth Night,” it explored the depths of human emotion and the transformative power of storytelling. The resilience displayed in the characters of “Twelfth Night,” particularly Viola’s perseverance, resonated deeply with the themes of hope and endurance in “The African Dream.”
Silent Howl: A Symphony of Visual and Emotional Resonance, was a visually striking and emotionally stirring performance. It left an indelible impression with its powerful storytelling and stunning visuals, much like the captivating blend of humor, romance, and chaos in “Twelfth Night.” The whimsical setting of the BMO Mainstage, coupled with the enchanting music by Veda Hille, created a sensory experience that mirrored the visual and emotional resonance of “Silent Howl.”
An Iliad Presented by Dirt Road Productions: A Riveting Performance, was a riveting performance where the power of storytelling brought ancient tales to life in a modern setting. Similarly, “Twelfth Night” brought Shakespeare’s timeless narratives into the present, blending historical context with contemporary themes. Both productions highlighted the enduring relevance of classic stories and their ability to connect with modern audiences on a profound level.
I can confidently say that this performance was one of the most memorable. The combination of Shakespeare’s timeless words, Veda Hille’s enchanting music, and Diana Donnelly’s innovative direction created a truly magical experience.
For those who missed it, I highly recommend keeping an eye out for future performances and events by Bard on the Beach. Their productions are not to be missed!
Stay tuned for more updates and reflections on Vancouver’s vibrant cultural scene right here on Serene Jaimin Kenya 97. Until next time, keep exploring and appreciating the arts around you!
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