Delaware Shakespeare presents Twelfth Night, O Lo Que Quieras, adapted by Liz Filios and Tanaquil Márquez

This excellent modernized rendition under director Andrew Watring mixes Shakespeare’s primary text with a contemporary context. In the original Twelfth Night, upper-class twins Viola and Sebastian wash ashore the mythical coast of Illyria and entangle themselves in the romantic intrigues of two powerful houses. In the Filios/Márquez version, two upper-class Venezuelan twins become embroiled in the political intrigues of two powerful parties. Despite the border patrols, orange-capped conservatives, and power-hungry advisors, this remains a surprisingly light-hearted adaptation. The writers do an excellent job mixing the original Shakesperean dialogue with contemporary English, contemporary Spanish, and an approximation of period speech.

My freedom is mine

Although I’m deeply familiar with Shakespeare, I could not differentiate the original dialogue from the modern additions (perhaps thanks to text coach Cassandra Alexander). The playwrights elegantly insert lines that merge with the original, like “the ocean can be unforgiving, but the land even more so," and the phrases “unlawful stranger” and "the stolen land that you think you claimed." I appreciated the poetry highlighting the migrant experience, with lines like "our blood is in the ground," "no one belongs until everyone belongs," and "I thank thee for my freedom but it was mine."

Welcoming immigrants, then and now

Even longtime theater supporters can forget that the arts should augment social discourse. Shakespeare’s work frequently commented on political power plays, gender relations, and racial concerns, including a scene he penned in the early 1590s when contributing to a play titled The Book of Sir Thomas More. Shakespeare was probably inspired by anti-immigrant riots in Southwark at the time. In his words, More urges Londoners to give migrants “harbour” while decrying violence.

More asks the rioters to imagine leaving England for a foreign place: “You must needs be strangers. Would you be pleased / to find a nation of such barbarous temper, / That, breaking out in hideous violence, / Would not afford you an abode on earth, … This is the strangers’ case; And this your mountainish inhumanity” (act 2, scene 4).

If anyone feels O Lo Que Quieras is out of scope, take a look at Othello, re-read Merchant of Venice, find a copy of the Book of Sir Thomas More, and then sit back and enjoy this performance. Plus, the writers did not significantly change the text: Olivia was always the head of her family; the Duke was always the I-don’t-take-no-for-an-answer guy; Maria was always Olivia’s aide, and Antonio always had a fear of political arrest.

Passionate, queenly, creepy

Although there were minor smudges here and there with the vocals on opening night, the cast brought high energy. izzy sazak (Violeta) infuses passion into her character’s love scenes with Olivia (I stan Olivia-Violeta and secretly wish they married in the finale). Imani Moss plays regal Olivia to queenly perfection, capturing Shakesperean rhythms. James Ofalt’s smooth, mellow singing voice as Orsino doesn’t hinder his ability to play a MAGA-style villain with a Miami Vice wardrobe.

Stevie Smith Iannettoni (Malvolio) is the show's secret weapon. Newly graduated from UArts (RIP), they showcase a comedic, Vaudeville-flavored understanding of Shakespeare's fools, from their slow-walking priest to their cross-gartered appearance. Charlie Barney as the Duke's MAGA assistant, Curio, is deliciously creepy. Federica Andino-Vega’s Feste opens the show with very strong vocals. And thanks are due to all of the cast’s Spanish speakers for maintaining a slow cadence for those of us with rudimentary language skills.

A cohesive experience

The entire creative team offers a cohesive theater experience, including playful yet emotionally stirring songs from Filios. Watring teams with choreographer Manny Chacon to create picture-perfect stage tableaux using cast members as ocean waves. The first act’s quick-change sequence stands out, assisted by costume designer Rebecca Kanach and Ayla Taffel’s props. Watring adds subtle sight gags, including the duke’s aide giving him CPR and the aforementioned slow-walking priest. Excellent live musicians and musical direction from Michael Meketa Sanchez round out the show.

A version of this show premiered in a Del Shakes community touring production in 2022 (here’s the BSR review). Co-creator Màrquez is continuing a body of work that speaks to the immigrant experience in our region, including 2024’s NICHOS at North Philly’s Teatro Esperanza (here’s my review). Both shows include music and fantastical elements, but this one is better balanced than NICHOS, never forcing the emotion. The team’s light touch on contemporary issues doesn’t overwhelm the show, but I still felt myself drawn to tears at the subtle re-recreation of our current oligarchy.

A few false notes

The show’s group comedy scenes hit a slightly less successful note. On their own, Shakespeare’s gang-of-fools scenes feel to me like an over-the-top car crash, and in this show, when Maria, Sir Toby, Feste, and Sir Andrew unite to overthrow Malvolia, they all hit the same high-pitched octave. The opening-night audience loved it, but the ensemble doesn’t have to work their voices so hard to signify the comedy. And when Antonia’s arrest shifts into an upbeat melody about mistaken identity, the creative team could’ve allowed the terror of arrest to linger a smidge more.

A big-hearted show

This production is an excellent example of how regional theater can inform and entertain. Informational placards along the entry path shared the play’s history. The welcoming table provided ACLU Know Your Rights cards. In remarks on opening night, the cast acknowledged South Philly’s Juntos for human-rights assistance.

You don’t need to know Shakespeare or speak Spanish to enjoy this accessible event. The park setting adds to the fantastical sentiment and makes you feel like you’re picnicking with friends. (The Rockwood Park gates open 75 minutes before showtime; early arrival is recommended; BYO chairs, food, and drinks.) This show might not have the biggest budget, but it has the biggest heart. As Feste says in this version, "If you don't fight for change, what is it you stand for?”