In one of the more comic scenes of the Folger Theatre’s production of Shakespeare’s 'Twelfth Night', El Beh as Sebastian spars with Che Kabia as his uncle, Sir Toby Belch, and Hunter Ringsmith as Sir Andrew Aguecheek. Directed by Mei Ann Teo, the play runs in the Globe-like theater until June 22. Photo by Erika Nizborski

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Director Mei Ann Teo whips up a sparkling production of William Shakespeare’s Twelfth Night, at the Folger Shakespeare Library through June 22. Spun through with song and sexy humor, it’s contemporary but also very much in a tradition Shakespeare’s audiences would appreciate.

From the play’s first arresting moments, as a young woman on a sinking ship is tossed by waves that threaten to overpower her, the production grounds us in the physical and emotional, motifs that carry through the performance.

On the foreign shore of Illyria, Viola (Lilli Hokama) emerges from a shipwreck that apparently drowned her beloved twin brother. Unmoored and in mourning, she disguises herself as a young man, “Cesario,” to enter the service of a local nobleman.

Her employer, Count Orsino (Helen Hayes Award-winner Ayssa Keegan), attracts Viola from the start with his rough tenderness and his all-in passion. In romantic red menswear and a red velvet coat, Orsino resembles a more butch prince.

These looks are an early glimpse of costume designer Olivera Gajic’s couturial fantasy, which is as vivid and maximalist as the set is featureless and concrete. That vision encompasses even the, shall we say, prominent codpieces protecting family jewels and serving as coin purses as well as punchlines.

In the object of Orsino’s desire, Olivia (Alina Collins Maldonado), Viola meets someone she might share a lot in common with, a veiled woman turning away men as she mourns for her father and brother. But Viola senses a rival who thrives on control.

Despite herself, Olivia is intrigued by young Cesario, who Hokama invests with a virtuous nobility, easily unnerved in his unfamiliar gender, but intent to carry out his task for Orsino.

Strong performances

Olivia’s household includes her fabulous uncle, Sir Toby Belch (Che Kabia). A scuffed-up Morris Day in a leopard-print coat or brocade robe, Sir Toby craves company as much as food and wine. He’s brought along good-humored and thoroughly entertaining Sir Andrew Aguecheek (Hunter Ringsmith), ostensibly to woo Olivia, but this flighty fashion-plate would not know where to begin with the lady.

The pair alternately annoy and join forces with Maria (Shubhangi Kuchibhotla), Olivia’s maid. She’s a vivacious, quick-thinking woman, another strong female character in this play who’s not afraid to seize her future even if she has to inflict some pain to do it.

Meanwhile, Viola’s brother Sebastian (El Beh) has not drowned, though he believes Viola has. He is making his way to Count Orsino’s with the assistance of the very devoted and very interested Antonio. The air between them sizzles with lust.

Characters with heart

It will come as no surprise that identities are mistaken. Stirred-up lovers change dance partners, and passions ignite. Characters are sometimes surprised by who they love.

As rowdy and funny as the production is, Director Teo also emphasizes the humanity of Shakespeare’s characters. The audience sighed audibly when loyal and loving Antonio faced betrayal.

More surprising was the sympathy that Nicholas Yenson’s judgy and preening Malvolio, Olivia’s steward, earned. His willingness to be vulnerable to seek Oliva’s love via a show-stopping moment of choreography, music and costume that would have done Cabaret-era Berlin proud, won the audience’s heart. He’s got fantastic legs, let me tell you.

Globe lookalike

The theater, designed to look like the Globe Theater in Shakespeare’s time, is small and multi-leveled. The cooperative work of scenic designer David I. Reynoso, Lighting Designer Minjoo Kim, Projection Designer Hao Bai, and Sound Designer Justin Schmitz ensured that audience members throughout would see and feel the performance, allowing greater use of the set’s different levels and hidden spaces.

In a shadowed balcony, Erika Johnson, percussionist/music director, brought to life Composer Be Steadwell’s vision of a “sonic landscape” crossing musical genres, to thrilling effect. The play veered briefly into the horror genre when the imprisoned Malvolio’s distorted visage was repeatedly reflected across the set.

This production of Twelfth Night is not for children. It includes mature content including sexual innuendo, stylized intimacy, adult language and simulated alcohol and tobacco use. The production utilizes haze and strobing lights.

Folger Theatre is located at Folger Shakespeare Library, 201 East Capitol St. SE, Washington, DC. The theater entrance is at the corner of East Capitol and 3rd St. SE, in the newly constructed Adams Pavilion. Anyone over 62 gets a 10% discount. Contact the box office at folgerboxoffice@folger.edu or (202) 544-7077.