What is one to make of Cincinnati Shakespeare's Twelfth Night? Was director Jasson Minadakis so taken with last season's dark re-thinking of The Merchant of Venice that he takes his pound of flesh from what is usually a delirious romp about a giddily unlikely romantic triangle?

        Or is it simply a mistaken attempt to respond to Sept. 11 by trying to sculpt the show in rehearsal into something that it can never and should never be?

        Twelfth Night follows the adventures of Viola (Anne E. Schilling), who survives a shipwreck in which her twin brother is believed lost. She has the bright idea to dress as a boy, becomes page to a duke (Brian Isaac Phillips) with whom she promptly falls in love. The duke in turn is in love with Olivia (lovably played by Angela Groeschen), who of course falls for the boy Viola.

        The rest of the action revolves around Olivia's household, where her layabout uncle Sir Toby Belch (Drew Fracher) decides, with the help of his motley sidekicks, to play tricks on prissy steward Malvolio (Nick Rose.)

        Mr. Minadakis rips the romantic heart out of the comedy and deepens the melancholy. The problem is Shakespeare's comedy can't accommodate Mr. Minadakis' high concept. The players' courageous attempts to stretch the dialogue and action into a different logic by interjecting meaningful pauses, dirty looks and incensed body language is an exercise both bizarre and useless.

        Interestingly, the production is a success in a lot of ways and speaks to the festival's leap in maturity. There's never a moment that isn't clear and purposeful, never a false step in where they're trying to take the play, no matter how questionable the destination.

        The festival's long-standing virtues — energy, charm and warmth — have, if anything, increased and, joy of joys, there are no multiple roles. Everybody gets to dig in and play one character.

        The show is also a giant leap in design. Will Turbyne's set and lighting are nothing short of elegant. Heidi Jo Scheimer's Edwardian costumes fit delightfully. Christopher Guthrie has fashioned notable sound design (and also does nicely in a supporting role).

        I wish Nick Rose had been allowed to play Malvolio for the great comic role it is, because he's a good enough actor to do it. By removing Malvolio's excesses, he's far less interesting.

        Drew Fracher is wonderful as his bete noir Sir Toby, a hapless drunk on the surface but perceived here to be a black-hearted villain. He is backed up delightfully by Giles Davies, capering madly as bumbling Sir Andrew Aguecheek. Mr. Davies, a fine movement artist, has all manner of giggle-inducing physical business.

        Mr. Minadakis has no time for Viola's relationship with her duke, which is a pity. There is nothing underneath Mr. Phillips' melancholy until much too late in the action, and Ms. Schilling's Viola has too many of the same mannerisms as her Claire in season opener Fuddy Meers.
       ×mr.,5
       Twelfth Night, Cincinnati Shakespeare Festival, through Nov. 4. 381-2273.
       

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