Twelfth Night

Sandra Oh and Lupita Nyong'o (Photo: Joan Marcus)

By Fern Siegel (Posted August 24, 2025)

Twelfth Night is the first production to grace the revamped Delacorte Theater for Shakespeare in the Park. This round, director Saheem Ali has streamlined the popular comedy to a fast and funny 90 minutes.

Its many issues — love, identity, gender-bending and emotional machinations — revolve around romantic pairings. Due to a shipwreck, twins Viola and Sebastian each believe the other is dead. Viola (Lupita Nyong’o) winds up in Illyria and disguises herself as Cesario, a man attending to the narcissistic Duke Orsini (Khris Davis). Orsini claims to love Countess Olivia (a standout Sandra Oh), who is attracted to Cesario.

Part of Cesario’s appeal as a man, and clearly a draw for Olivia, is the freedom of speech and suave action she enjoys. Watching the duo is a humorous study in social expectation and role-play, since Cesario is sent to woo as the Duke’s stand-in.

Similarly, watching Cesario and Orsino discover their attraction is usually one of the pleasures of Twelfth Night. The scenes with Oh drive much of the humor and the tenderness. With the Duke, Nyong’o is smitten, while Davis seems more obsessed with his muscles than maidens. She’s game, but the chemistry doesn’t click. Conversely, Antonio (an energetic b), is clear her love for Sebastian (Junior Nyong’o) runs deep.

As always, Shakespeare’s comic relief offers compelling subplots. Peter Dinklage’s Malvolio, Olivia’s officious major domo, is a pleasure to watch whenever he’s on stage. Every physical movement speaks volumes. And his maltreatment at the hands of Sir Toby (John Ellison Conlee) and Maria (Daphne Rubin-Vega), Olivia’s uncle and scheming servant, respectively, is cleverly executed.

However, Jesse Tyler Ferguson portrays Toby’s sidekick, Andrew, as if he were Mitchell from “Modern Family.” Ironically, he did the same in the Broadway drama “Take Me Out,” making his theatrical range limited and his appearances more irritating than enjoyable.

Happily, such limitations are rare in a show that keeps the action moving. It’s a playful production, with lots of music, buffoonery, a boxing ring and a bicycle. There is an especially inspired bit using green letters to mimic a tree. The play’s alternative title, “What You Will,” sits in giant red letters on stage, a beach towel boasts an image of Shakespeare and Cesario, on occasion, suddenly starts speaking Swahili. It’s that kind of inventive romp.

Of special note is Oana Botez’s colorful costumes, Maruti Evans stylish set pieces and Bradley King’s mood lighting. With some exceptions, Ali gets wonderful performances from an excellent ensemble. His pacing, like his use of various props, is imaginative and he delivers a fun Night for all.