| TWELFTH NIGHT at the Delacorte Theater: Junior Nyong’o and Oscar winner Lupita Nyong’o. Sebastian and Viola: twins. All Photos credit: Joan Marcus |
What You Will, and Then Some: A Joy-Filled First Time at the Delacorte
'Twelfth Night'
I’ve loved theater for as long as I can remember, thanks in large part to my mother. Though we lived in Philadelphia, she never hesitated to drive us to New York in her 1972 Volkswagen Beetle for a good show. We shared a love of story and stage, and while Philly has its own rich arts scene, the idea of seeing Shakespeare under the stars at the Delacorte Theater had a particular allure.
And yet, somehow, neither of us ever made it to Shakespeare in the Park.
Until now.
This summer, I finally made the trip from Philadelphia to see Twelfth Night at the newly revitalized Delacorte Theater—and it was everything. A gift. A riot. A marvel. A stellar affirmation of what I love about live performance, proving that sometimes, the best things are worth the wait.
From the first moment, it was clear this wasn’t going to be a traditional Shakespearean night. Directed by Saheem Ali, this Twelfth Night was gloriously irreverent, uproariously funny, and committed to joy. I laughed so hard I genuinely worried I’d pulled something.
Peter Dinklage’s Malvolio was at turns irascible and ridiculous, yet somehow sympathetic. One unforgettable scene found him storming into a hot tub party thrown by the debauched trio of Sir Toby Belch (John Ellison Conlee), Andrew Aguecheek (Jesse Tyler Ferguson), and Maria (Daphne Rubin-Vega). Toby lounged with a drink and a line of coke; Malvolio blew it all away with a hair dryer. It was physical comedy at its best: over-the-top, perfectly timed, and absolutely unhinged.
Sandra Oh’s Olivia was a masterclass in comedic control: playful, commanding, and hilariously bewildered by her own desires.
But the performance I was most excited to see was Lupita Nyong’o as Viola. I’ve followed her career for years—from 12 Years a Slave to Black Panther—and seeing her stretch into this kind of role was a revelation.
Her Viola had depth and yearning, but also immense humor and agility. She danced around Olivia’s affections with raised eyebrows, impeccable timing, and rakish charm. Her comedic instincts were razor sharp. As moving was her use of language, slipping seamlessly into Kiswahili, one of four languages she speaks fluently, in exchanges with her real-life brother Junior Nyong’o (who shined as Sebastian, bringing freshness, emotional nuance, and a buoyant charm to the role). It added emotional texture and cultural resonance, a grounding note midst the Shakespearean chaos.
Khris Davis brought swagger to Orsino, hilariously self-absorbed and vacuous. Moses Sumney, as Feste the Fool, charmed with velvety vocals and sly delivery. And b, as Antonio, brought a quiet intensity and heartfelt emotion to the ache of unrequited love.
The courts of Olivia and Orsino mirrored their masters’ moods like emotional backup dancers, exaggerating love, angst, flirtation, and fury with perfectly choreographed mischief. Swept up in passion or mired in melodrama, they brought the house down with synchronized antics. It was one of the most entertaining elements of the entire show, flawlessly executed and irresistibly funny.
The final scene, a glitter-drenched, drag-fueled spectacle, turned the amphitheater into a full-on party. Sequins flew. Wigs flipped. We were on our feet cheering before the last pose hit.
This wasn’t just my first Shakespeare in the Park—it was a theatrical homecoming. A return to joy, silliness, shared laughter under an open sky. If you’ve never seen Free Shakespeare in the Park (or even if you have), let this be the year you go. You’ll leave just a little more alive. I know I did.
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| Peter Dinklage’s Malvolio |
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| Sandra Oh’s Olivia with Junior Nyong’o Sebastian |
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