Thoroughly Modern Willie Folgerís Production of ëTwelfth Nightí Clever, Hilarious by Lisa Troshinsky Many Shakespearean productions have strayed from the Bardís original ideas of time period and setting, but the current production of "Twelfth Night" at the Folger Theatre takes this well-oiled concept to new heights. The result is keenly clever, playful and hilarious. If you donít like to laugh just for the heck of it, then I wouldnít see this play. Itís the kind of hilarity that sneaks up on you. At the end of Act I, youíre shaking your head at the playís absurdity and chuckling to yourself, but youíre also wondering if what the director is doing is kosher. (Where did all those songs come from, and arenít they slowing down the pace?) But in Act II, the whimsical exaggerations pile up and you barely have time to breathe between gags, and when all is said and done, youíre a convert. You only wish all Shakespeare productions were done this way. "Twelfth Night," which focuses on the love triangle between Viola, Orsino and Olivia, "remains, first and foremost, a romp, a party, in shortóa play," said director Aaron Posner. Posner makes good on his promise. He not only has made the play contemporary in look and feel, heís turned it into a raucous musical variety show of sorts with a Saturday Night Live-esque quality. Cast members play the piano, pick out melancholy tunes on an electric guitar, and sing and dance to accent the playís varied emotions. And of course, Shakespeare himself supplies the nonmusical one-liners and witticisms. The interspersing of Craig Wrightís original music and lyrics serves to highlight the playís innocence and theme of love. This is especially true with the character of Feste, the clown. Normally cast as a male, in this production Feste is played superbly by Sarah Marshall, one of Washingtonís favorite thespians. Although Marshall has never before performed Shakespeare professionally and isnít a trained singer, her voice is clear and focused as she opens the play with a soft ditty that invites the audience to experience "this world, this place, this time, this space, this sea, this shore, you get this long, and a little more, maybe"óa much more comforting intro than the shipwreck that traditionally opens "Twelfth Night." But mostly the music has a comical effect. Orsinoís famous opener, "If music be the food of love, play onÖ. Tis not so sweet now as it was before," about his unrequited love for Olivia, is a funny double entendre when recited while Cesario (Viola disguised as a man) amateurishly tickles the ivories with a melancholy ballad. Lady-killer Orsino, given an amusing tongue-in-cheek performance by Ian Merrill Peakes, breaks out in violent sobs whenever Feste serenades him of love. And Holly Twyford, cast as the cross-dressing Viola, hilariously bangs out a percussive, rock-like "Marry Me Now" on the piano. Wearing a poker face, she skillfully holds her own throughout the play in the hopes of wooing Olivia for Orsino. Twyford, another D.C. veteran actress, is no stranger to the Folger, having won the 1998 Helen Hayes Award for outstanding lead actress for her role as Juliet in the Folgerís "Romeo and Juliet." But the climax of musical surprises comes when a duel between Viola and the drunk Sir Toby Belch, played ingeniously by David Marks, is fought with 1980s club dance choreography set to C&C Music Factoryís "Gonna Make You Sweat (Everybody Dance Now)." At this point, the audience lost all the composure it had left. Even those who think they are too refined for "schtick" will at the very least chuckle when seasoned actor Rick Foucheux, who plays the stick-in-the-mud Malvolio, Oliviaís right-hand man, unveils his "cross garters," bright yellow stockings and jock strap after Oliviaís entourage misleads him into thinking this dress will turn her on. Speaking of the mischievous peanut gallery, joining Feste and Sir Toby is Oliviaís maid, Maria, played by Dori Legg, and Sir Tobyís dim-witted drinking pal, Andrew Aguecheek, who doubles as the productionís musical director. Beefy Sir Toby and thin-as-a-rail Aguecheekócostumed by Tony Cisek in loud silk suits, alligator shoes and fur coatsóresemble a Laurel and Hardy act. This crew works well as an ensemble, especially in the "cross-garter" prank scene when they witness Malvolio reading their forged letter on a supposed videotape. Olivia, played by Kate Eastwood Norris, does well as the "straight man" amid the frivolity. Although Norris had badly sprained her ankle, which delayed the opening a few nights, she skillfully employs a cane as a prop, adding to the heartbroken nature of her character as she mourns for her dead brother. The vaudevillian quality of this production is enhanced by the lack of a set, save a red-curtained backdrop that serves as the entrance to Oliviaís home and stairs that lead to a second level. Folgerís stage is small, wooden, with two large gothic pillars on either side of the stage, and the players do well using levels to indicate place. For some, this production of "Twelfth Night" could appear over the top, with a little too much farce. But considering Washingtonís reputation of too much work and not enough play, it could be just the ticket. "Twelfth Night" runs through Feb. 9 at the Folger Theatre, 201 East Capitol St., SE. Tickets are $29 to $46. For more information, please call (202) 544-7077 or visit www.folger.edu. Lisa Troshinsky is a freelance writer in Washington, D.C.