CALIFORNIA SHAKESPEARE THEATER toured the Bard’s popular comedy of mistaken identities, “Twelfth Night,” last year, performing at its San Francisco venue and at several Bay Area community locations with an all-female cast, and now offers the show as its 2015 summer season opener at the Bruns Amphitheater in Orinda in similar fashion, with only one male in the bunch.

The current production, under the direction of Christopher Liam Moore, has an “insiders” kind of feel, like something the players might have put together for each other’s amusement. They seem to rush through some of the relatively mundane moments, and an unusual prop dominates the sparse set, creating an odd central focus.

Scene changes are almost imperceptible, unmarked by moments of silence or darkness. Costumes are briskly and minimally altered as the players switch roles. Even at the start, as Viola (Lisa Anne Porter) finds her way to a stranger after swimming ashore from a shipwreck, it is unclear just who it is that she has encountered. The fool Feste (Ted Deasy) has just leapt out of the coffin he has apparently been using for a bed, but how did he come to find himself at the seaside just a moment later? In fact, he is not Feste at all now, but a nameless sea captain.

Moore explains the most prominent diversion from the standard, an ungainly funeral bier situated mostly at center stage for the duration of the play. Since the two main characters each mourn the loss of a brother, he says he feels the play “is so much a journey through grief.” The director adds that the fool, Feste, “is there to remind everybody that life is fleeting, and death awaits everybody.”

Actually, Feste appears to be there to expose the other characters’ flaws with humor and playfulness, hoping to cause them to see the folly of their ways — and to amuse us as an audience in the process. Mortality is not among themes I would identify as foremost in this Shakespearean comedy, at least not as it was written. In this sense, the Cal Shakes production feels more like a study of the work than a true rendition of it.

The players, as can be expected at any Cal Shakes production, are exceptional. Julie Eccles is a particular joy to watch as the countess Olivia, seen at first in mourning attire as she grieves the loss of her brother. It would take some creative persistence to pierce through her entrenched solemnity, and Cesario (Lisa Anne Porter as Viola, disguised as a male page) brings all the right tools to the job. With good humor, Cesario pushes hard against the limitations of propriety to gain audience with the countess and capture her affection, on assignment from the duke (Rami Margron as Orsino) to woo her on his behalf. Porter gives such a polished performance as Viola, it’s a shame it isn’t easier to follow her frequent character transitions.

Deasy is also endearing as the fool, whether in the service of the duke as Feste or for Mistress Olivia as Fabian — and even in his brief appearances as the nameless friend to Viola or as her twin brother Sebastian’s friend Antonio. Deasy is a strong presence on the stage and contributes greatly to the story’s energy and momentum — though again, it can get confusing the way he morphs so subtly among his alternate characters.

Costuming for “Twelfth Night,” by Meg Neville, is magnificent, mostly from the Elizabethan era. Duko Orsino flaunts his balloon shorts with broad, flamboyant cutaways. Olivia is seen in long, sleek and elegant gowns and headdresses. Sir Toby’s friend Sir Andrew (Margo Hall), portrayed as a sort of Elizabethan dandy, appears in extravagant capes and hats, appropriate to his juvenile and sassy personality. Prominent cod pieces, particular more to the previous, Renaissance era, add to the visual humor.

Shakespeare aficionados with a keen knowledge of the play will probably enjoy the Cal Shakes production best. It contains refreshing takes on some of the characters and an interesting spin with its unconventional focus on death. Anyone not so well versed may have difficulty following the plot, given the multi-role casting, quick pace and subtle scene changes.

From any perspective, the language is hardly an issue, as these performers are true masters of the tongue, using natural rhythm and commanding tone and projection to make the Shakespearean dialect sound almost normal to modern ears.

Go and enjoy the mastery of Cal Shakes in this classic romantic comedy. Arrive early and catch the Grove Talk, where resident theater members offer insight into the work, including directorial perspective and character interpretation. Talks are 20 minutes long and begin 45 minutes prior to each performance. Hear previous Grove Talks online at calshakes.org, under the Special Events tab.

All of the performers in “Twelfth Night” are members of the Actors’ Equity Association.

If You Go
“Twelfth Night” continues at the Bruns Amphitheater, 100 California Shakespeare Theater Way, Orinda through June 21. Tickets are $20 to $72 and are available by calling 510-548-9666 or online at www.calshakes.org.

Elizabeth Warnimont is a freelance writer specializing in the performing arts. She is also a substitute teacher for the Benicia Unified School District.