Madcap Mixture Clever ëTwo Gentlemaní Is Mostly All-Female Cast by Anna Gawel The Folger Theatre mixes it up in a clever rendering of Shakespeareís mixed-up romantic comedy, "The Two Gentlemen of Verona," blending styles, genres and superb, offbeat casting to breathe fresh life into the Bardís biting commentary on love and the laws of attraction that can sometimes thwart it. "Two Gentlemen" is considered Shakespeareís first romantic comedy, setting the stage for his later comedic works. The play centers on the love-struck Proteus who, shortly after proclaiming his undying devotion to Julia, sets his sights and passion on the beautiful Sylvia, his best friend Valentineís love interestóigniting a chain reaction of broken, and ultimately mended, hearts. The stylized production stays true to Shakespeareís original story but throws in its own unique punches as well. Sultry tunes such as Peggy Leeís "Fever" and "Letís Get it On" by Marvin Gaye, as well as costumes that combine 1920s-inspired design with Elizabethan garb, and the occasional modern-day quipsósuch as the reference that one can never be too liberalócreate a unique menagerie of moods and periods that even the most die-hard Shakespeare fans will ap preciate. The playís light-hearted nature and quick pace also make it a great introduction to Shakespearean newcomers. Expertly directed by Aaron Posner, "Two Gentlemen" transitions smoothly from witty banter to more serious drama, although the true highlight of the play is the Bardís acerbic humor, which is skillfully executed by a predominantly female cast. Posner decided to add this theatrical twist, casting women in all of the roles except for the two gentlemen, to make the love story more accessibleóand in the end, it is the ladies who wind up stealing the show and overshadowing their male counterparts. The imitable Holly Twyford, a seasoned veteran of Washington stages, tackles the multiple roles of, among others, Speed, Crab and Eglamour with ease and, above all, a sharp wit and over-the-top humor that shines in every scene sheís in, which is actually most of the playís scenes. Her portrayal of Crab the dog in particular offers some of the productionís most uproarious moments. Similarly, Kate Eastwood Norris wears various hats, carrying off each with her deft comedic touches and precise timing. Lucy Newman-Williams, balancing the roles of three characters, also holds her own with a strong stage presence and effortless acting. In a sense, these three ladies not only provide the playís comic relief, they anchor the production with their engaging performances. Brian Hamman as Valentine and Karen Peakes as Julia, both of whom stand in the way of Proteusís all-consuming desire for Sylvia, forcefully convey the emotional rollercoaster their characters undergo. It is only Sylvia, played by Heidi Armbruster, who is not given much room to excel theatrically. In the first half, Armbruster appears vapid as the clichÈd fair maiden waiting her true love, although toward the end, frustrated by Proteusís constant advances, she exhibits more power and for the most part comes into her own. Proteus, the man who turns everyoneís love life upside down, is solidly played by Ian Merrill Peakes, who delivers his lines with conviction and passion as he tries to reason away his many about-faces. However, Peakes ultimately could have been more convincing in capturing Proteusís sudden changeover from good friend and loyal lover to menacing, cavalier scoundrelóthis is after all a man who drops his "deep love" at the mere sight of another woman and goes on to betray his closest friend for that woman. It seems as if Peakes canít quite morph into that bad guy mentality, never fully communicating Proteusís darker side to the audience. Visually, the play succeeds on many levels. Daniel Conwayís set is reminiscent of a colorful Italian carnival, where a simple plank serves as a second floor for the actors, all of which is complemented by Aaron Cromieís striking mask designs and Dan Coveyís effective lighting. Kate Turner-Walkerís costumes fuse an array of trends and unique accents. Some outfits look like theyíve been plucked from a circus ringleader, while others stick with a more understated, traditional style. Most notable are the flowing dresses worn by Sylvia, which glow with femininity and grace. Above all, the productionís mixing of styles does not overcrowd or confuse the plotóin fact, it propels it along and adds a dimension that will appeal to audiences constantly looking for a fresh take on Shakespeare. Toward the end of the play, one audience member commented that Julia shouldnít take Proteus back, and the fact that this story can evoke such a reactionósimilar to what one would hear with a group of women watching "Sex and the City" for instanceóis testament to its durability and universal themes of love and heartache. "The Two Gentlemen of Verona" runs through Dec. 19 at the Folger Shakespeare Library, 201 East Capitol St., SE. Tickets are $25 to $48. For more information, please call (202) 544-7077 or visit www.folger.edu. Anna Gawel is the managing editor of The Washington Diplomat.