Oh, what a 'Night'
Entertainment, Brattleboro Reformer, Thursday, January 10, 2008
To borrow from the Bard, "Some are born great, some achieve greatness, some have greatness thrust upon them" ... and some have all three all at once.
So it is, for Rosa Palmeri and Allie Bliss, two veteran New England Youth Theatre actresses, who have embarked on a unique and downright daunting venture -- to play all the parts of Shakespeare's "Twelfth Night."
In their capable hands, Viola, Orsino, Olivia, Malvolio, Sir Toby Belch, Sir Andrew Aguecheek and some of Shakespeare's other favorite characters come to life, thanks to wild jump cuts, changes of accent, hats, body posture and facial expressions.
Performances are Friday and Saturday at 7:30 p.m., with matinees on Saturday and Sunday at 3 p.m., at New England Youth Theatre, 00 Flat St. Tickets are $10 for adults, $8 for students. The production is sponsored by Windham Family Vision Care. For reservations, call 802-246-NEYT, visit www.neyt.org or e-mail michelle@neyt.org.
It is believed to be the first time two teenaged girls have undertaken this. But history is not the only reason to come see it. Two young actresses have been pouring their hearts and souls into this endeavor -- each has had to learn some 900 lines of dialogue and keep command of all the various characters -- and their many props, costumes and mannerisms.
"This production really empowers them and stretches them," said director Peter Gould, who conceived of the project when Bliss and Palmeri approached him after seeing Ian Mahoney and Jacob Lepkoff achieve similar success in 2006 with "Stones in His Pockets."
"I really did some homework. I thought 'what would be a good play for two girls to do?' I just couldn't come up with anything," said Gould. "Because I knew 'Twelfth Night' and 'Twelfth Night' is dealing with situations where a girl goes into disguise as a boy, we thought it would work."
Palmeri and Bliss have thrown themselves earnestly into the play since "A Night at the Opera" closed at NEYT in November. And they've been dedicated.
So dedicated, in fact, that they spent two nights sleeping on the stage.
"We just needed to be here," said Palmeri, who did admit, "I was scared."
Sleeping on stage wasn't as crazy an idea as it seemed since one of the set pieces is a comfortable bed. To launch into the play the basic premise is that Rosa is studying "Twelfth Night" in AP English, and Allie is staying over, and as it grows very late at night in Rosa's messy room, the whole play comes bursting out of the pages that Rosa's reading.
Gould said about 75 percent of the script has been retained for the production.
That's plenty. The monumental nature of the undertaking was in evidence Tuesday evening as Bliss and Palmeri ran the final scenes of the play, still mastering difficult lines and working hard to keep all the quick character changes in mind.
Even as a work-in-progress, there were times when you could see is all come together, that it would work and that it would be very funny.
Gould said productions like these reveal something about NEYT, too. "This is the kind of professional-level, thesis-level, challenge only available at precious few youth theaters in the world."
But beyond that, it should be both fun and fascinating for audiences. If that's the case, play on, give me excess of it.
-- Jon Potter
Editor of the Reformer:
Reformer.com
Monday, February 11
Had it not been for my daughter's enthusiasm in seeing New England Youth Theatre's production of "Twelfth Night" last month I might have missed perhaps the finest performance that I have ever seen. I don't mean the finest performance of Shakespeare's "Twelfth Night" of which I have seen several, nor the best performance produced at New England Youth Theatre, but dare I say the best theatrical performance of all the professional and nonprofessional on and off Broadway performances ever.
Rosa Palmeri and Allie Bliss truly starred in their creation of Shakespeare's romantic comedy. They're talents, refined just enough to carry off the sophisticated script yet not so over studied as to dull even one moment of the 21/2 hour performance. The actors' authenticity and abundant energy imbibed each character (10 or more) with its own unique wit, style and persona. The actors were graceful, spunky and completely captivating from start to finish.
The director, Peter Gould, told the audience that he was quite sure now, that Shakespeare intended "Twelfth Night" to be performed by two teenage girls. I can't agree more, but I will add that he wrote this play for Peter Gould's direction. Peter masterfully crafted this production which moved quickly but never rushed, and was more choreographed than blocked. The timing and fluidity of this hilarious rendition was theatrical perfection! The slapstick which Shakespeare is so loved for, was not over acted with excess pomp and goof. It never once offended the audience's sensibilities, a common flaw even among the most touted direction. Instead, it lifted the audience into spellbound laughter again and again.
It is well known that Shakespeare wrote for everyone, but not everyone performs it as such; however, new England Youth Theatre's performance of "Twelfth Night" did this great playwright justice. In keeping with Shakespeare's plays within plays, this show begins with two teenage girls who use their messy room as a painter would use her pallette, spontaneously draping themselves with "whatever's laying around" in order to act out some play they apparently have to read for an English class. My 8-year-old daughter didn't miss a tic of this 15th century plot, while the adult humor and poignant social matter, appropriately, went over her head to be met by the appreciative seasoned ear. It was play time for both young and old.
Perhaps the final zest that polishes this performance to perfection is the "groove" that these actors created for one another, a quality of intimacy that far surpasses the notion of teamwork. The synchronicity and grace that shimmered throughout this performance of "Twelfth Night" is not studyable. A million rehearsals (which were essential to the success of this performance) could not have developed the exquisite theatrical harmonies that these teenage girls, Rose Palmeri and Allie Bliss performed together.
This powerful co-creative impulse is a quality, I think, more common among women and even more so, among girls. There is a great deal for us to celebrate and learn, here, if we so choose.
These actors have brought forth a jewel, worthy of international recognition. I hope that the New England Youth Theatre is able to bring this performance back on stage soon; furthermore, if there is a possibility of taking this amazing work of art to England, I urge anyone who is able to sponsor such an endeavor to do so, for it is a gift to behold.
Jess Diamondstone,