Shakespeare’s classic closes out spring semester for University Theatre.
By Andrea Ambriz, Staff Reporter
“With hey ho, the wind and the rain. For the rain it raineth every day,” the cast sang in unison, their coordinated curtain call dance bringing the production to a memorable close.
The musical tune resonated with life’s unpredictabilities, but inside the Edison Theatre, everything moved with purpose. Corseted practice dresses swayed, dark leather boots stomped rhythmically, and the cast conversed in language of “The Bard” with fluency and flair.
Though it was only a rehearsal, the world of “Twelfth Night”—with its shipwrecks, mistaken identities, and romantic entanglements—was preparing to come to life. The classic play by William Shakespeare premieres at the University Theatre on Apr. 30, with additional performances set to run May 1-3 to close out the spring semester.
A stage set for mischief and romance
Printed in the 1623 First Folio, the romantic comedy follows the twins Viola and Sebastian, who are separated and stranded in the land of Illyria. Believing Sebastian is dead, Viola disguises herself as a man, serving Duke Orsino—only for Countess Olivia to fall for her. The love triangle’s mischievous twists drive the play’s humor and heart.
The play is co-directed by theatre arts professor Kelly Hurman and English professor Kimberly Huth, who decided to take a traditional approach to production.
“It was a really good one for embracing the Elizabethan, Shakespeare style, which is what we wanted to play with this time,” Hurman told The Bulletin. “Doing it towards more of the style of the actual period.”
Hurman and Huth reimagined the play in a post-plague world, intentionally drawing parallels between Illyria’s fictional environment and the real-world experience following the COVID-19 pandemic.
“It’s about rebuilding community, and the trials and tribulations that come with reestablishing community,” Hurman said. “That you can still find love and hope in just everyday things.”
The directors stayed mostly faithful to Shakespeare’s original text and structure, but worked to make the language more approachable for modern audiences.
“We developed places where the audience can get used to the sound of Shakespearean English,” Huth explained. “Also be told that it’s okay to not catch every word and still be able to get the sense of what is going on.”
The play’s exploration of gender identity and fluidity may also resonate with a contemporary audience, Huth added, calling the themes “very relatable.”
“The biggest thing throughout this play is the underlying level of queerness,” said Nathan Chang, a first-year theatre arts student who plays Duke Orsino.
Third-year theatre arts student Fabiola Arreola Garcia said the play embraces life’s unpredictability.
“Sometimes life happens and there’s not much you can do about it,” said Garcia, who portrays Antonio. “What you put out to the world, you will receive in the end.”
Production was hampered at times by the conflicting schedules of the cast and crew, according to the co-directors. Chang praised Huth for how she guided the cast, noting the importance of her expertise with the source material.
“She’s just helped us all understand the text so much more, whether it’s our lines or what other people are saying,” he said. Huth likewise lauded the commitment shown by the entire team.
“People come to be in a play because they want to and because they’re eager to do it,” Huth said. “Any challenges like that that arise—everyone is more than willing to put in the effort to get over it.”
One such challenge was the language of Shakespeare itself, which first-year theatre arts student Alyssa Moguel said required precision.
“Shakespeare is very on point. You have to get everything exact,” said Moguel, who plays Viola and her alter-ego, Cesario. “You can’t paraphrase, or you’ll throw off the rhyme and the rhythm.”
Moguel said she jumped at the chance to portray Viola on stage, something she’s wanted to do for years. She explained that she “hit the ground running” as soon as she landed the role to be ready by the opening curtain.
“I’m nervous more than anything. I’m very anxious,” Moguel said. “You know, the closer it gets, the more it’s nerve-wracking, and it’s just, like, fine-tuning everything now.”
While the cast brought the characters to life, the crew worked just as hard to build the world of Illyria inside the Edison Theatre. The striking set features wooden staircases, arched doorways, and a two-level balcony, creating a simple yet romantic atmosphere.
“It was just incredible work by our set designer,” Huth said. “Every time I work with the theatre, I’m just always amazed at how much of a collaborative effort it has to be.”
Moguel echoed Huth’s appreciation, saying she hopes the design adds to the audience’s experience at the show.
“I really hope when people walk in, they’ll look at our set and be like, ‘Wow, they spared no expense—it’s so beautiful’,” Moguel said. “I just want them to walk out and be like, ‘Wow, that was amazing. I want to watch it again and again and again’.”