‘Twelfth Night’ is a diamond in the rough

Each season, the play that falls into the fourth slot in the classical repertory is a challenge. It is tricky to cast because of the actors’ schedules, it is usually a big tragedy or complex comedy, e.g.: “Macbeth” in 2008, “Measure for Measure” in 2007, and it has the shortest rehearsal time. The result often is a production that is rough around the edges on opening night, which is the case with producing artistic director Charles Fee’s “Twelfth Night.” Yet, as the timing tightens and pace increases with performance, it will bloom into the sophisticated, riotous romantic comedy this company is capable of achieving.

Twins Viola (Sara M. Bruner) and Sebastian (Kevin Crouch) are separated by a violent shipwreck. Each washes up on Illyria, a strange shore where the normal social order is out of balance and everyone has license to be a bit mad; and each thinks the other is dead. Disguised as Cesario, a male page, Viola enters the service of Count Orsino (Jonas Cohen). He sends her to woo the fair Olivia (Jodi Dominick) and the world turns upside down when Olivia falls for the handsome boy.

The subplot features the festival’s stalwart comedy core. The residents of Olivia’s household connive to humiliate the puritanical Malvolio (a marvelously funny David Anthony Smith). Andrew May appears as Sir Toby, Ian Gould as Andrew Aguecheek, M.A. Taylor as Fabian, and newcomer Edwardo Placer as the musical fool Feste. The chemistry among them is undeniable, especially between May and Gould, who honed their connection playing twins in “Comedy of Errors” earlier this season. Laura Perrotta is delightful as Maria, who initiates all the mischief.

The actors’ characters are all firmly drawn, and with time on stage the clarity and deeper nuance will develop. Bruner leads the way with her usual pluck and energy. Cohen, Placer and Dominick, who are all standouts in “The Mystery of Edwin Drood,” which runs in repertory until Aug. 28, are equally memorable here, although Dominick could be a bit more unhinged in her romantic fever. Placer has some wonderful moments as Feste, especially his touching closing monologue. Crouch shows his range this season from the wonderfully melancholy and troubled Konstantin in “The Sea Gull” to his dashing Sebastian.

“Twelfth Night” is a dense and deeply funny text, with jokes that reverberate on multiple levels. It feels like we are just getting to the gold, and the stage is set for them to do so.

The production is rich and textured. Fee’s Illyria is a blend of Moorish, Persian and Nepalese flavors, with a touch of the Gypsy spirit, beautifully echoed in Gage Williams’ set, which blends ideas of Spanish and Moroccan architecture, and John Peter Still’s soundscape, which ranges from Gipsy Kings to Sur Sudha. It is late enough in the season that the sunlight wanes by the end of the first act and Rick Martin’s lush lighting effects make a stunning presence. Star Moxley’s marvelous mix of flowing Arabic robes and Napoleonic style gowns make you wish she had a line of ready-to-wear.