Never Never Shakespeare’s second production is a modern iteration on William Shakespeare’s Twelfth Night. The play runs from February fourteenth to the twenty third at La Troupe Du Jour.

            

  The company launched last year with LEAR a trilingual co-production between La Troupe Du Jour and Gordon Tootoosis Nikaniwin Theatre.

            

  Founded by Bob Wicks, Paige Francoeur and Avery Fehr, the company strives for a mandate of modernizing and bringing an inclusive tone and voice to Shakespeare’s work.

            

  The production stars Joshua Beaudry (Feste), Jenna “JB” Berenbaum (Sir Toby), Mackenzie Dawson (Sir Andrew), Kody Farrow (Orsino), Paige Francoeur (Olivia), Rachel MacLaughlin (Viola), Claire Middleton (Maria), John Reaney (Antonio), Alexa Steponchev (Sebastian) and Bob Wicks (Malvolio).

This iteration of Twelfth Night was adapted by Francoeur and Wicks with contributions from Beaudry and Mitchell Larson.

 

  Wicks and Francoeur deserve credit for taking a classic Shakespearean comedy and retrofitting it with a modern and queer sensibility that made the production a unique and magical experience. Through the use of facets such as a 90s nostalgia laced soundtrack that evokes Much Music’s Big Shiny Tunes 2 and pop song earworms to the atmospheric dance routines intertwined with stunning costume design and modest set design that is anchored by the strong, magnetic performances by the cast and confident direction makes this version of Twelfth Night unforgettable with laugh out loud moments and a dreamy ascetic that culminates into a rich jaw dropping tapestry infused with a magical experience.

            

  Wicks direction is strong and bold which allows the production to be its own entity unrelated to previous iterations and tones of Twelfth Night. The characters feel original yet familiar while maintaining a captivating ambience throughout.

 

  MacLaughlin as Viola emits a strong vulnerability, curiosity that is nuanced and able to balance an expressive, emotive physicality throughout that is radiant.

 

  Francoeur’s portrayal of Olivia is magnetic as they infuse a playful energy that is infectious while conveying an emotional centre that amalgamates multiple emotional states effortlessly.

 

  Farrow’s performance as Orsino is subtle as they alternate between lovelorn earnestness and a frustrating obtuseness that is relatable and genuine.

 

  Wicks’ turn as Malvolio captures a tightly wound pedantic energy that is as humorous as it is frustrating as Wicks embodies this version to perfection and leaves a delightful manic energy that is felt throughout the play.

 

  Steponchev gives a unique performance that is heartfelt, real and uses physicality and facial expressions that instills energy that enhanced the characterization with few words.

 

  Berenbaum captures lighting in a bottle with their portrayal as Sir Toby, balancing a scene stealing, infectious performance that is a highlight of the production cultivating a truly unforgettable performance with their cadence, physicality and facial expressions.

 

  Beaudry brings an aura of oafishness, comic energy while staying grounded not allowing the character to fall in a stereotype or cliché territory is well deserved feat and credit to his performance.

 

  Middleton effortlessly juggles Maria’s contempt, consternation and playful side that allow the performance to be just as hilarious or serious depending on Maria’s motivations in a given scene.

 

  Dawson provides a carefree free nonchalant attitude as Sir Andrew that serves both the clown and comic relief for his friends while maintaining a strong conviction and loyalty. Dawson’s ability to effectively convey both brings a gravitas  to a character most known as the comic  relief.

 

  Finally, Reaney as Antonio strikes an earnest vulnerability that is both striking and pronounced throughout the production. Reaney imbues Antonio with a layered performance  with the limited time he appears on stage.

 

  Jensine Emeline’s costume design is immaculate and wide ranging from simple casual attire to provocative ensembles, power suits that creates a magical ascetic that feels plucked from  a world of its own.

 

  Abraham Galman’s work as set and prop designer is simple, effective while striking a tone that allows the production to flourish.

 

  Steponchev also provides the dance choreography that helps set the mood and transport the product to a dreamy wonderland at times.

 

  Danielle Spilchen is able to balance realistic natural fight scenes while infusing some of them with comic timing and helps provide the canvas for the tone of the production.

 

  Peace Akintade brings a sense of security, comfort and safety with the intimacy scenes that still evoke the vulnerability, intensity and intimacy required of the actors while under the umbrella of feeling naturalistic albeit subtle.

 

  Grahame Kent’s music choices and soundtrack help capture the mood and tone throughout and add richness to the production.

 

  Stephen Wade conveyed an effective tone with the lighting changes that helped make the production shine amidst the mood, energy and emotion on stage.

 

  Reaney was also the vocal coach and helped the production with vocal cadences, tics and nuances for various characters.

 

  Lastly, Fehr as production stage manager helped the production feel like a finely tuned machine and provided humor as the production would veer into meta narrative occasionally.

          

  Never Never Shakespeare’s Twelfth Night is simply put, a majestically confident, magnetic, hilarious yet dreamy, ambitious piece of theatre that is unforgettable and something that should be seen live if possible.

 

  Never Never Shakespeare’s Twelfth Night runs from February 14-23 2025 in Saskatoon, Saskatchewan, Canada at La Troupe Du Jour. Tickets can be bought online here or at the venue.