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 WILLIAM SHAKESPEARE’S

TWELFTH NIGHT
Adapted Into a One-Act Play by
CECIL PICKETT

Dramatic Publishing Company

Woodstock, Illinois ● Australia ● New Zealand ● South Africa

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and recordings in the public domain PICKETT
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Printed in the United States of America

All Rights Reserved
(TWELFTH NIGHT)

ISBN: 978-0-88680-213-4

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 IMPORTANT BILLING AND CREDIT REQUIREMENTS
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THE DRAMATIC PUBLISHING COMPANY, INC., of Woodstock,
Illinois.”

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FOR AUTHORIZED DIGITAL USE
 TWELFTH NIGHT

Dramatås Personae
*Clown 1
musicians
*Clown 2

}
*Clown 3
members of the troupe
*Ciown
4
Clown
S
aown
6
Feste, a narrator
Fabian, a narrator
Orsino, Duke of
Illyria Olivia, a
Countess
Viola (Cesario), Sebastian's twin sister
Sebastian, a young gentLeman of
MessaLine Sir Toby Belch, an aging

FaLstaffian knight
Sir Andrew Aguec eek, suitor to OLivia
Malvolio, OlivÁa's pompous steward
MarÉa, Olivia's temaLe servant

PLace: lLLyria

*Clowns I and 2 may be omitted if recorded music is uslXI. CLowns 5

and 6 may play the roles oť Clowns 3 and 4 if it is nccl>ssary to
reduce the size ofthe cast.

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 ABOUT THE PLAY

This prize-winning one-aCt adaptation of TWELFTH NIGHT is in tended

for use in contests, CLassrooms, workshops, and other situations in whiCh
the full play cannot be usedo As with all adaptations of the Classics
published by Iu Ev Clark, Incv, it is hoped that this shortened ver sion will
induCe aCtors and audienCes to read and study Shakespeare's original
and to watCh for opportunities to see the entire play on stage.
TWELFTH NIGHT is one of Shakespeare's best-loved Comedies, and it
demonstrates two of the Bard's favorite ComiC devices: a girl disguised as
a boy, and the Confusion caused by identical twins. The girl-as-boy device
was particularly funny to Elizabethan audienCes beCause all roles were
pLayed by men. Thus they watChed a male actor portray a female
character who in turn masqueraded as a male. The faCt that Shakespeare
used this doubLe transformation in several plays indicates that his audi·
ences thought it was hilarious.
The double-take surprise of Confronting identiCal twins has produCed
Laughs throughout the ages. But this deviCe does Create a smalL probLem
for directors not fortunate enough to have identical twins available for
casting. But it realy is just a smaLl probLem. The distanCe from aCtor to
audience and the willingness of audienCes to see what they are toLd they
are seeing enabLe the costume and make-up Crews to turn an aCtor and
an actress who look a Little aLike into aCCeptable carbon Copies (see the
Production ffiotes at the end of this book for suggestions).
TWELFTH NIGHT teLLs the story of the twin VioLa and Sebastian,
who are shipwrecked and-unbeknownst to eaCh other-washed,healthy
and alive, upon the shore of IUyria. Viola disguises herself as a boy
named Cesario and finds employment as a servant to Orsino, Duke of
Illyria, and falls in love with him; but, alas, in her disguise as a maLe, she
finds it awkward to flirt with him. To further complicate things, Orsino
is in love with the Countess Olivia-and she, in turn, is interested only
in his servant, Cesario (Viola in disguise). Abetting this comic situation
are the misChievous antiCs of Sir Toby Belch and Sir Andrew Aguecheek.
The prank they pulL on poor, stupid MaLvoLio wouLd be indeed if
it wercn't for MalvoLÁo's pompous attitude hich invites a take-down.
In addition to these main CharaCters, the adapter has promoted
Shakespeare's clowns. Feste and Fabian, to the role of narrator, and has
added six cLowns (who may be reduced to two if it is necessary to re
duce the size of the cast) to change the set and provide background
for the action.

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 Cecil Pickett, the adapter, is a member of the drama faculty
of the University of Houston well known for his genius as a
diÍector of the plays of Shakespeare and Moliere. Beginning
his career as a director for nine years at Houston's Bellaire
High School, Mr. Pickett used his own adaptations of the
classics to win the state championship of the Univer
sity Interscholastic League one-act play contest a record-
breaking five times. It takes time and skill to reduce a two- or
three-hour play to 35 minutes. This adaptation of TWELFTH
NIGHT is a good example of
Mr. Pickett's skill.
I. E. Clark, Inc. is proud to be able to offer our customers
several of Mrx Pickett's prize-winning adaptations. Please see
our current catalog for other titles.

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 TWELFTH NIGHT

Stage Dťrectťons and Notes

[Numbers below correspond to numbers on the page opposťte.]

1. Two stools are preset on the apron Down Left and Down Rťght
of the proscenťum. FEST£ and FABIAN, dressed ťn tradťtťonal harle
quťn costumes, step out through the center of the curtaťns and smartly
open two scrolls.
2. FESTE and FABIAN take the curtaťns and pull them open only
halfway to reveal CLOWN 1 and CLOWN 2 (guťtarists) seated on two
three-foot stools. CLOWNS 3 and 4 (tambourťne and sound block) are
kneeling Left and Rťght facťng the guťtarists. The group sťngs the first
two lines of "0 Mťstress Mťne" and then plays under the dialogue.
3. CLOWNS 1, 2, 3, and 4 segue to a lťvely dance. FESTE and FA
BIAN push the curtaťns open. CLOWNS 3 and 4 dance in a cťrcle Rťght
and Left Center, keepťng rhythm wťth the guitarists, then exťt as
CLOWNS 1 and 2 cross Down Center, pťvot Rťght and Left, and cross to
the preset stools at Rťght and Left. FESTE and FABIAN cross Center,
pťck up the three-foot stools, and exťt Right and Left as CLOWNS 5 and 6
enter Up Rťght and Up Left wťth two colorful dťscs on poles proclaťming
the title "Twelfth Nťght." They meet Up Center, pťvot, and march Down
Center. FEST£ and FABIAN enter Down Left and Down Rťght, kneel by
the sťde of Clowns 5 and 6 and gťve a sweepťng gesture to the tťtle.
CLOWNS 5 and 6 pťvot Rťght and Left and exťt. FESTE and FABIAN rise,
cross Center, turn, face the audťence, and begin a "mťme" walk. As
CLOWNS 5 and 6 exťt, CLOWNS 3 and 4 return Left and Rťght wťth
colorful standards bear ťng the coats of arms for the houses of Olivťa and
Orsťno, stop Down Rťght Center and Down Left Center and face out full
front. CLOWNS 5 and 6 enter Left and Rťght placťng a stool below each
standard. Each CLOWN bows as ORSINO enters Rťght, crosses to the
stool Rťght, sťts.
4. As Orsťno begťns hťs speech, CLOWNS 1 and 2 (seated on
stools Down Left and Down Rťght) softly play "0 Mťstress Mťne."
5. OLIVIA, carryťng a hand mťrror, enters Left and crosses to her
stool and sťts. ORSINO sends a rose by CLOWN 5 to her. She rejects ťt
and CLOWN 5 returns to Orsťno.
6. FESTE and FABIAN stop theťr mťme walk. FABIAN crosses to
Olivťa and assumes the physťcalizatťon of a court jester. FESTE mťrrors
thťs actťon to the left of Orsťno.

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 TWELFTH NIGHT

Adapted by Cecil Pickett

FABIAN. [1) Our play tonight ...

PESTE. Our play tonight needs musiC. So, [2] Minstrels, if you
please! Thank you.
[Link] in a land far far away where the sun shines bright and
the moon is always new, we tell our tale oflove.
MINSTRELS.0 mistress mine, where are you roaming?
0 stay and hear; your true love's Corning,
That Can sing both high and low;
Trip no further, pretty sweeting;
Journeys end in lovers meeting.
Every wise man's son doth know.
[Link] good, in faith!
FABIAN. A mellifluous beginning for our tale of lovers and of their
broken hearts whiCh must be mended ere the play is done!
PESTE. Aye! But it is also a tale of fools!
FABIAN. Fools suCh as we who gambol and meddle in the shadow
of broken hearts!
PESTE. But enough of this-let us Call forth our Company of players.
FABIAN. And let the play begin in Celebration. [3] A lively tune,
good minstrels!
PESTE. And our play begins ... FABIAN.
Good fool, what Country is this?
[Link] is Illyria.
FABIAN. And who governs here?
PESTE. A noble Duke in nature as in name ... the Duke Orsino.
ORSINOi [4) If musiC be the food of love, play on;
me exCess of it, that, surfeiting,
The appetite may sicken and so die.
0, when mine eyes did see Olivia first,
Methought she purged the air of pestilenCe.
PESTE. [5] You see,dear fool,our noble Duke suffers with a broken
hearty He seeks the love of the fair Olivia. She will none of him. He
sends her epistles of love whiCh she rejeCts. [6]
FABIA . But why?

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8 TWELFTH

7. The stage picture should now be aVanged in this manner: CLOWNS

3 and 4 are Down Left and Down Right with the standards. ORSINO
and OLIVIA are seated on stools below the standards. CLOWNS 5 and 6
stand facing front to the right and left of Olivia and Orsino. FEST£ and
FABIAN form the Center group, FABIAN kneeling to the right of Olivia
and FESTE kneeling to the left of Orsino. As Fabian assumes the role
of jester, the music segues to an old English country dance. The musi cians
(CLOWNS 1 and 2) are seated on the stools Down Right and Left.
8. CLOWN 6, standing left of Olivia, lifts her veil from her back and
places it over her face. OLIVIA rises and crosses Left Center. ORSINO
rises and crosses, meeting OLIVIA Center. He bows to her but she turns
and exits Left quickly.
9. CLOWN 3 exits Left following Olivia and followed by CLOWN 6.
FABIAN crosses Center and sits at the feet of Orsino as CLOWN 3 and
CLOWN 6 exit with standard and stool. ORSINO directs his speech to
Feste and Fabian. FESTE is seated miVoring Fabian.
10. ORSINO whirls and exits Right snapping his fingers to
CLOWNS 4 and 5, whofollow him with stool and standard.
FESTE and FABIAN rise facing Down Center. They read aloud
from the scrolls. CLOWNS 5 and 6 enter upstage and stretch a long strip
of sheer blue material across the upstage area. They create the illusion
of the sea by moving the material with a rippling motion. VIOLA enters
above this material and stops Up Center. CLOWNS lower the material
to the floor as VIOLA crosses Down Center slowly. CLOWNS 1 and 2
underscore the entire "Viola" scene with their music.

12. FESTE and FABIAN turn Left and Right and bow to Viola.
CLOWNS 5 and 6 stretch the blue material tightly, making it into
a backdrop for the scene.

13. FESTE offers his hand to VIOLA. They exit together Right.

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NIGHT 9

FESTE. Let the Countess Olivia answer that question!

FABIAN. You mourn, sweet lady, why?
OLIVIA. For my brother's death, good fool. FABIAN.
I think his soul is in hell, madonna. (7] OLIVIA. I
know his soul is in heaven, fool.
FABIAN. The more fool, madonna, to mourn for your brother's soul
being in heaven. So take away the fool.
OLIVIA. By my life, you grow aweary. Give me my veil: Come, throw
it o'er my face. [8]
FESTE. [9] So, like a cloistress, she will veiled walk
And water once a day her chamber round
With eye-offending brine: All this to season
A brother's dead love which she would keep fresh
And lasting in her sad remembrance.
ORSINO. 0, she that hath a heart of that fine frame
To pay this debt of love but to a brother.
Away before me to sweet beds of flowers;
Love-thoughts lie rich when canopied with bowers. [1OJ
FABIAN. A broken heart! [11]
FESTE. Aye, two broken hearts.
FABIAN. And so many days now pass. The script says: One morning
the sun rose to see a virtuous maid named Viola arrive in Illyria.
FESTE. From the very fiaws of the sea and a shipwreck she came to
these shores. It says further that 'twas her twin brother who lashed her to
the back of a dolphin.
FABIAN. And that same dolphin brought her to safety.
FESTE. And now she is alone and in a strange country! What can
she do?
VIOLA. What country, friends, is this? [12]
FABIAN. This is Illyria, lady.
VIOLA. And what should I do in Illyria?
FESTE. 'Tis said the Duke Orsino needs a serving boy.
VIOLA. 0 then conceal me what I am, and be my aid
For such disguise as haply shall become
The form of my intent. I'll serve this duke.
Only shape thou thy silence to my wit.
FESTE. Be you his and your mute I'll be;
When my tongue blabs, then let mine eyes not see. (13]
VIOLA. I thank thee: Lead me on.

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10 TWELFTH

14. FABIAN faces front, opens his script.

15. FEST£ enters Right and crosses to Fabian at Center. He smartly

opens his script and reads aloud. CLOWNS 5 and 6 create the illusion of
the sea upstage again. SEBASTIAN enters Up Left and the same stage
directions used in No. 11 are repeated. CLOWNS 1 and 2 underscore
the "Sebastian" scene.

SEBASTIAN turns and crosses upstage looking at the strange

16.
new country. FEST£ and FABIAN speak to each other in sotto voce.

SEBASTIAN crosses Center between Feste and Fabian, exiting

17.
on "/bid you good day. "

[Link] 1 and 2 begin a lively country dance on theirguitars.

CLOWNS 5 and 6 exit Left with the "sea" material. CLOWNS 2 and 3
enter Right with a table and two stools, which they place Center. They
bow to each other and exit Right and Left. FEST£ and FABIAN cross
Down Left and Down Right and kneel facing center. FEST£ and FA
BIAN introduce BELCH and BRIA with sweeping gestures as they
enter.
19. BELCH bows and BRIA curtsies.
20. BELCH empties a jug of sack then puts his finger to his belly and
belches loudly. BRIA scolds Sir Toby by calling his name aloud.
BELCH responds by attempting to become suddenly very sober. He
crosses to table Center and sits on stool
21. MARIA crosses Center above Sir Toby. She straightens his collar,
takes off his hat, and tries to arrange his tousled hair.
22. BELCH slaps his hat on his head in anger. He then peers into his
jug to see is any sack left.
23. BRIA sits on Sir Toby's lap and puts her arms around his
shoulders.

24. TOBY pushes Maria off his lap and crosses downstage a step or
twc. SIR ANDREW enters Left and raises a fresh bottle of sack in sa
lute. ANDREW crosses on second greeting and meets TOBY Center.
They embrace and slap each other on the back.

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FOR AUTHORIZED DIGITAL USE
NIGHT 11

FABIAN. [14] So into the service of the noble duke goes

Viola, dis guising her feminine virtues in the weeds of a
youthful boy.
FESTE. [15] Days pass and days pass, then one morning the sea
gave up a young man called Sebastian. There are those among us
who believed him drowned.
FABIAN. Good stranger, may we ask of you your name'!
SEBAST. My name is Sebastian. Perhaps you have heard of my
father, Sebastian of Messaline. He left behind him myself and a
sister both born in an hour. And if the heavens had been
pleased, would we had so end ed. But that was altered. Before I
was taken from the breach of the sea was my sister, Viola,
drowned. [16)
FABIAN. Shall we tell him?
FESTE. No, the script says not
yet.
SEBAST. A lady, sir, though it was said she much resembled me
was yet of many accounted beautiful.
FABIAN. May we show you our country, Illyria, kind sir?
SEBAST. No, fare you well, my bosom is full of kindness and
I am yet near the manners of my mother that upon the least
occasion mine eyes will tell of me. [17) So, I bid you good
day.
FESTE. And so Sebastian goes grieving for a sister whom he
thinks is drowned. Now the new moon rises and 'tis time for the
fools to gambol. Set the scene for the fools! [I 8]
FABIAN. Sir Toby Belch, uncle to the Countess Olivia!
[19] FESTE. Maria,serving-woman to that same
Countess!
TOBY. [20) What a plague means my niece to take the death
of her brother thus?
MARIA. [21] By my troth, Sir Toby, you must come in earlier
o'
nights! Your cousin, my lady, takes great exceptions to your ill
hours! You must confine yourself within the modest limits of
reason.
TOBY. [22] Confine! I'll confine myself no finer than I am!
MARIA. [23) This quaffing and drinking will undo you! I
heard my lady talk of it yesterday and of a foolish knight
you brought in one night here to be her wooer.
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 TOBY. Who, Sir Andrew
Aguecheek? MARIA. Aye, he!
TOBY. He is as tall as any man in Illyria and he has three
thousand ducats a year!
MARIA. They add, moreover, he's drunk nightly in your
company. TOBY. [24] With drinking healths to my niece:
I'll drink to her as

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12 TWELFTH

25. SIR TOBY speaks in a sotto voce, nudges Andrew in the ribs,
and points his thumb toward Maria.

26. ANDREW crosses Right to Marfia and bows to her. TOBY gives
Left and turns to watch this meeting.
27. ANDREW crosses Left to TOBY, who has turned his back on
him to conceal his laughter. ANDREW whispers the question to Toby.
28. MARIA picks up the empty jug on the table and starts to exit
Left.
29. ANDREW steps in front of her.
30. ANDREW extends his hand to Maria. MARIA takes his hand and
lets it drop. She exits Left blowing Toby a kiss before exiting. CLOWN
2 enters Up Right with tray and tankards.
31. TOBY crosses to Clown 2 Up Right Center and takes a tankard
from the tray he is holding. He moves and sits on stool Right at table.
ANDREW crosses to Clown 2 and picks up tankard.
32. ANDREW sits on stool Left at table and bangs his tankard on
the table.
33. TOBY rises from the table; ANDREW does the same after his
question.
34. TOBY takes a step or two back, unsheathes his foil, raises it high
in the air.
35. TOBY swings foil back and forth near Andrew's feet. ANDREW
jumps to avoid being cut. TOBY laughs. ANDREW and TOBY exit Left.
CLOWN 2 exits Right. FESTE and FABIAN rfise and open their scrolls.
36. CLOWN 4 enters Up Left bearing the Orsino standard. He stops
Center above table.
37. ORSINO enters Down Right reading a book. VIOLA (now dressed
as a boy and in identical costume as Sebastian) enters Down Left.
38. CESARIO (VIOLA) crosses to Right Center and bows. ORSINO
crosses to Left Center to her. He puts his arm around her. After his
speech, he takes a letter from the book and gives it to Cesarfio.
CESARIO takes the letter, bows, turns Left, a few steps, and stops.

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NIGHT 13

lon as there is a passage in my throat and drink in IllyFa. What, wenCh!

Castiliano vul o! for here Comes Sir Andrew AguefaCe.

ANDREW. Sir Toby BelCh!! How now, Sir Toby BelCh!
BELCH. Sweet Sir Andrew!
ANDREW. Bless you, fair shrew.
MARIA. And you too, sir.
TOBY. [25] ACcost, Sir Andrew, aCCost.
ANDREW. What's that?
TOBY. My nieCe's Chambermaid.
ANDREW. [26] Good Mistress ACCost, I desire better acquaintance.
MARIA. My name is Mary, sir.
ANDREW. Good Mistress Mary ACCost,-
TOBY. You mistake, kni ht: "aCCost" is "front her, board her, woo
her, asail her."
ANDREW. By my troth, I would not undertake her in this company.
[27] Is that the meaning of "aCCost"?
MARIA.[28] Fare you well, entlemen.
ANDREW. [29] Fair lady, do you think you have fools in hand?
MARIA. Sir, I have not you by the hand!
ANDREW. Marry, but you shall have; and here's my hand.
MARIA. [30) Marry, now I let o your hand. I am barren.
TOBY. [31] 0 knight, thou laCk'st a Cup of Canary: when did I see
thee so put down?
ANDREW. When? [32] I shall tell you when! Sir Toby, your niece,
Olivia, will not be seen. She will none of me and the Count Orsino him
Alf hard by woos her.
TOBY. She'l none of the Count, for 'tis you she wants. By the by,
knight, you needs send home for more money. [33]
ANDREW. I have money, so shall we set about some revels?
TOBY. What shall we do else? [34) we not born under Taurus?
ANDREW. Taurus! That's sides and heart?
TOBY. No sir! Thighs and legs, so let me see thee caper! (35) Higher
... ha ha! Higher! Ah, excellent!
PESTE. The sun rises on these fools as they revel the night away.
Now back to our sCrÀpt. [36) It says Viola is now a serving boy in the
court of Orsino. [37]
FABIAN. And answers to the name of
ORSINO. Cesario! Who saw Cesario, ho?
VIOLA. (38] On your attendanCe, my lord, here.

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14 TWELFTH

39. ORSINO exits Right.

40. CESARIO exits Left. CLOWN 4 exits Right as CLOWN 5
enters Left (bearing the coat of arms standard for Olivia),
stops Center above table.
41. MALVOL/0 enters Right carrying a hand minor which he gazes
into. He is dressed from hat to toe in black. He cames a long
staff in his upstage hand. A steward's chain and a monocle hang
from his neck. Music in and under.
42. OLIVIA and MARIA enter Right and Left. OLIVIA carries
sev eral/etters from Orsino. She is readțng one of the letters
when she enters. MARIA has a small brass tray which she is
polishing with a linen. OLI VIA sits at table Right. MALVOL/0
crosses to her side and hands the mirror to her. MARIA sits
table Left.
43. TOBY starts singing offstage Left. He enters a few steps
and freezes when he sees Olivia and Maria. He is very, very
drunk.
44. TOBY belches. After his belch, he crosses to the right
ofMalvolŚo.
45. Knocking is heard offstage Left. MA LVOL/0 exits Left.
46. TOBY exits Down Right doing a drunken jig. His singing
fades offstage after exit.
47. MALVOL/0 enters Down Left a few steps and stops.
48. MALVOLIO exits Down Left again. MARIA råsett crosses
above Olțvia, lifts her veil and places it over Olivia's face.
MARIA crosses to table Left and sits. She takes the linen and
places it over her face like a veil.
49. CESARIO enters Left and crosses below table Center.
She looks back and forth from Olivia to Maria. This action
prompts the line, "The honourable lady of the house . . . "
MALVOLIO enters Down Left staring at Viola through his
monocle.
50. laughs pulls the linen from her face and points to

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the veiled Olivia. VIOLA crosses to Olivia's right and kneels.
51. MARIA rises, curtsies to Olivia, and crosses Left below
VIOLA. MALVOLIO exits Left. VIOLA kneels to left of Olivia.

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NIGHT 15

ORSINO. Cesario,thou know'st no less but all; I have

unclasped To thee the book even of my secret soul:
Therefore, good youth,address thy gait unto
her; Be not denied access,stand at her doors,
And tell them,there thy fixed foot shall
grow Till thou have audience.
VIOLA. Say I do speak with the fair Olivia,what
then? ORSINO. 0, then unfold the passion of my
love. [39] VIOLA. I'll do my best
To woo your lady [Aside/ yet, a barful
strife! Whoe'er I woo,myself would be
his wife. [40]
FESTE. And the youth now called Cesario bears an epistle of
love to the Countess Olivia. (41] The pompous steward,
Malvolio, is the man you see standing there preening himself.
He believes that all who look upon him love him! [42]
MALV. My lady, I must protest the conductofyour
uncle,Sir Toby. He is drunk nightly. He carouses with a foolish
knight. He is vulgar and loathsome; I marvel your ladyship
takes such a delight in such a barren rascal!
OLIVIA. 0 you are sick of self-love, Malvolio, and taste
with a distempered appetite.
MALV. [43] Very well,your ladyship.
TOBY. [Singing/ Hold thy peace,I prithee,hold thy peace ...
OLIVIA. Oh, by mine honour and half-drunk! What is it
you seek,
Uncle?
TOBY. 'Tis a gentleman at the gate! (44] A plague on these
pickle herringT [To Malvolioj How now,sot?
OLIVIA. Oh cousin, (45] how have you come so early by
this leth argy?
TOBY. Lechery? I defy lecheryT There's one at the gate! [Singsj
Hold thy peace and I prithee hold thy peace. (46]
MALV. Madame, yon young fellow at your gates swears
he will speak with you.
OLIVIA. 0 very well, let him approach. [48] Maria,my veil:
come, throw it o'er my [Link]'ll more hear Orsino's
embassy. (49]
VIOLA. The honourable lady of the house,which is she? [50]
OLIVIA. Speak your office.

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 [Link] concerns your ear alone.
OLIVIA. Malvolio! Maria! Give us this place alone. Now,
sir, what is your text?

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16 TWELFTH

52. VIOLA rises.

53. OLIVIA lifts her veil. She picks up the miuor and looks into it.

54. VIOLA turns and gives Right a few steps.

55. VIOLA returns and kneels again. CLOWNS 1 and 2 play and
hum "0 Mistress Mine. "

56. Viola's cheek is touched tenderly by OLIVIA.

57. VIOLA rises, bows, and exits Down Left.

58. OLIVIA rises and crosses deliberately toward the exit through
which Viola has disappeared.

59. OLIVIA turns and crosses Center while pulling a ring off her fin
ger. MALVOL/0 enters Left. OLIVIA extends the ring to him. He crosses
to her, takes ring, bows and exits Left.

[Link] crosses Down Center and throws kiss Down Left to ex

iting Cesario. She then exits Down Center. CLOWN 5 remains in his po
sition three or four feet above table Center. FEST£ and FABIAN cross
Down Center. They turn full front and open scrolls. Music segues from
a ballad to a lively dance.

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NIGHT 17

VIOLA. (52) Good madam, let me see your face.

OLIVIA. Very well. I will draw the curtain and show you the pic-
ture. (53) Look you, sir. Ls't not well done?
VIOLA. Excellently done, if God did all.
OLIVIA. 'Tis in grain, sir: 'twill endure wind and weather.
VIOLA. I see you are proud, but if you are the devil, you are fair!
[54] My master loves you.
OLIVIA. Your master knows my mind. I cannot love him.
VIOLA. If I did love you in my master's flame, I would not under·
stand it.
OLIVIA. Why, what would you?
VIOLA. [55] Make me a willow cabin at your gate,
And call upon my soul within the house;
Halloo your name to the reverberate hills
And make the babbling gossip of the air
Cry out "Olivia!" 0, you should not rest
Between the elements of air and earth
But you should pity me.
OLIVIA. You might do much. [56)
Get you to your lord;
I cannot love him; let him send no more;
Unless,perchance,you come to me again,
To tell me how he takes it. Farewell.
VIOLA. [57) Farewell,fair cruelty.
OLIVIA. Soft! Soft! How now! [58)
Even so quickly may one catch plague of love?
Well, let it be.
What ho, Malvolio. [59)
[Link],madame,at your service.
OLIVIA. Run after that same peevish messenger. He left this ring
behind him, would I or not: tell him I'll none of it. But if that youth
will come this way tomorrow, I'll give reason for it. Hie thee,
Malvolio.
MALV. Madame,I will.
OLIVIA. Fate, thy force: ourselves we do not owe;
What is decreed must be,and be this so. [60)
FESTE. Our story begins to entwine. What says your script, Master
Fabian?
FABIAN. Orsino loves Olivia. Olivia loves Cesario. Cesario loves Or-

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18 TWELFTH

61. TOBY enters Right drinking from his tankard. He sits on

top of table Center. FESTE and FABIAN cross Up Center and
sit Right and Left on the stools by the table. ANDREW enters
Left with tankard. He stops and salutes Sir Toby.
62. ANDREW crosses Center and sits on table Center with Toby.
63. CLOWNS 1 and 2 play an introduction for "Thou knave"
song. They sing it as a round. As the song grows more raucous,
MARIA en ters Left. She tries to quiet them down with futile
gestures. She puts her fingers between her teeth and gives a
piercing whistle. The music stops and there is silence.
64. MARIA crosses Down Center below the table and turns
upstage facing Toby. TOBY stands on top of table with
ANDREW bellowing some bawdy song.

65. MAL VOL/0 (attired in nightgown, steward's chain, and

nightcap) enters quickly Down Left. He carries a lantern in his
upstage hand.

66. TOBY jumps off the table and crosses Left to Malvolio.
ANDREW jumps off the table and cowers behind Maria Center.
FESTE and FA BIAN hide behind their stools upstage.

67. MAL VOL/0 crosses Center to Maria.

68. MAL VOL/0 exits Down Left.
69. TOBY throws his tankard offstage Left at Malvolio.
There is a cry from MAL VOL/0 offstage. FEST£ and FABIAN,
in unison, cry "Bulls-eyed"
70. TOBY crosses Center and puts hțs arm around Andrew.
71. MARIA is Center between Sir Andrew and Sțr Toby.

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NIGHT 19

[Link] loves Olivia. Malvolio loves [Link] take it from there!

FESTE.0 time, thou must untangle this, not I.
'Tis too hard a knot for me to untie!
TOBY. [61 1 Approach, Sir Andrew, approach! Not to be abed after
midnight is to be up betimes-
ANDREW. [62) I know to be up late is to be up late!
TOBY. Thou art a scholar! Let us therefore eat and drink or shall we
rouse the night owl with a song? (631
ANDREW. Aye! I am a dog at a song! Let our song be ''Thou knave"!
[Link] begins "Hold thy peace."
ANDREW.I shall never begin if I hold my peace!
ALL. "Hold thy peace,
Thy knave-hold thy peace,
Thy knave ..." [64]
MARIA. What a caterwauling do you keep here!
[Link] the twelfth night of December
MARIA. For the love of God, peace!
MALVOLIO. (651 My masters, are you mad? or what are you? Is
there no respect of place, persons or time in you?
TOBY. [661 We did keep time, sir, in our [Link] up!
[Link] Toby, I must be round with [Link] lady bade me
tell you that though she harbours you as her kinsman, she will none of
your disorders! If you can separate yourself and your misdemeanours,
you are welcome to the house; if not, she is very willing to bid you fare
well.
[Link] sir and rub your steward's chain with crumbs!
MALVOLIO. [671 Mistress Mary, if you prized my lady's favour at
any thing more than contempt, you would not give means to this uncivil
rule: she shall know of it, by this hand. [681 [691
[Link] shake your ears!
[Link], I could challenge him to a duel.
TOBY. [701 Do it knight! I'll write thee a challenge.
MARIA. [711 Sir Toby, be patient for tonight. For Monsieur MaL
volio, let me alone with him: if I do not gull him into a nayword, and
make him a common recreation, do not think I have wit enough to
Lie straight in my bed!
[Link], good wench?
MARIA. A letter! I will drop in his way some obscure epistles of love
by the color of his beard, the manner of his gait, he shall find
himself most feelingly personated.

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20 TWELFTH

72. TOBY does a jig in celebration.

73. ANDREW jigs copying Sir Toby.

74. MARIA kisses Sir Toby on the forehead and then

exits Left. [Link] TOBY gives Left after an exiting
Maria.
76. ANDREW sits on stool at Right of table. FEST£ and
FABIAN are behind the table.
77. TOBY motions for Sir Andrew to join him Stage
[Link] rises and crosses to Toby. They exit Right on
Toby's "Come, knight."

78. FEST£ and FABIAN cross from behind the table to Down
Center. CLOWN 5 exits Up Right and is replaced by CLOWN 6
(with Orsino's standard). ORSINO and CESARIO enter Left
and Right and meet at the table [Link] setting up the
Orsino scene, FABIAN and FEST£ cross Down Left and Down
Right and sit at the feet of Clowns 1 and 2. A soft sound of
music creeps in under the following scene with Orsino and
Cesario.
79. ORSINO sits at table Right.
80. CESARIO kneels at his feet.
81. CESARIO sits and lays her head on Orsino's 'lap.
82. CESARIO rises.
83. ORSINO hands his letter to [Link] bows and
[Link] rises and exits [Link] 6 (with standard)
exits Up Left.
84. CLOWNS 1 and 2 play a lively [Link]£ and
FABIAN cross Up Center and move table to Up Left.
CLOWN 5 enters with three foot stool and places it Down
Right. CLOWNS 3 and 4 enter Left and strike table and
stools. MARIA enters Down Right, CESARIO Down Left. They
counter cross exchanging greetings at [Link] stops
and turns, watching an exiting CESARIO. SIR TOBY and
ANDREW begin to sing offstage Left. MARIA turns and crosses
a few steps in their direction.
85. TOBY and ANDREW enter Down Right, and Maria.
86. MARIA pushes TOBY and ANDREW Up Left above

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table (box tree). She crosses Down Right and places letter
below the [Link] and ANDREW place six-inch twigs of
greenery in the headbands of their hats (camouflage). MARIA
pushes TOBY and ANDREW to the floor behind the table on
the cue, "Down ... "She then exits Up Left. MAL· VOL/0
enters Down Right.

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NIGHT 21

TOBY. Excellent! [72] I smell a device.

ANDREW. I have it in my nose too!
[73]
MARIA. I shall drop this letter in his path and let him find
it. He shall think it comes from my lady. Now for this night to
bed and dream on this event. Farewell! [74]
TOBY. [75) Good night, Penthesilea.
ANDREW. Before me, she's a good wench! [76)
TOBY. She's a beagle, true-bred, and one that adores me

too. [77] Come, come, let's go burn some sack; 'tis too late to
go to bed now: Come, knight; come knight.
FABIAN. The sun rises on these fools as they revel the night
away once more. [78] Now back to our script-
FESTE. Orsino, it says here, insists that Cesario return to
Olivia with another epistle of love. [79)
VIOLA. [80] But if she cannot love you, Sir!
ORSINO. I cannot be so
answered! VIOLA. Sooth, but
you must.
Say that some lady, as perhaps there
is, Hath for yourclove as great a
pang of heart
As you have for Olivia? Oh, I speak too much,
But this I know-
ORSINO. What dost thou know-?
VIOLA. (81) My father had a daughter loved a
roan As it might be perhaps, were I woman-
R should your lordship.
ORSINO. But died thy sister of her love, my boy?
VIOLA. I am all the daughters of my father's
house, And al the brothers too: and yet I know
not.
[82] Sir, shall I to this lady?
ORSINO. Ay, that's the theme. [83] To her in
haste! MARIA. [84] Good day to you, young
man.
VIOD. And a good day to you, my
lady. TOBY. [85) How now, my metal
of India!
MARIA. [86] Get ye quickly behind yon box tree!
Malvolio's com ing down the walk. I know this letter will make a

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contemplative idiot of him. Hurry. fPl acing the letter near the
stool] Lie thou there for here
comes the trout that must be caught with tickling. Sir
Toby, this branch of leaves is for you and, Sir Andrew, here is
one for you. Now down! Down!

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22 TWELFTH

8 7. In the following box-wood scene, TOBY and ANDREW's

actional choices are as follows: (a) their heads "bob" up and down
like a jack-in the-box; (b) their heads move up and down on the
lines in reverse order; and (c) their heads rise to the level of
their noses to the top of the ta ble in a manner reminiscent of
"Kilroy was here. " MALVOL/0 is never aware of them.

88. MALVOL/0 sits on stool Down Right.

89. MALVOL/0 sees the letter. He steathily places his foot on

it and pulls it toward him while looking around to see if he is
being watched.
90. MALVOLIO breaks the wax seal on the letter. He rises
from the stool on the line, "Why that's my name!"

91. MALVOL/0 pauses after the word "revolve"; he makes

a com plete turn of the body. Nothing happens so he shrugs
his shoulders as if to say "Oh well!"

92. MALVOLIO crosses to Down Center full front.

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 NIGHT 23

MALV. 'Tis but fortune; all is fortune. Maria once told me

Olivia did affect me: And I have heard herself say that should
she fancy, it should
be one of my complexion. What should I think on't?
TOBY. [87] Here's an overweening rogue!
ANDREW. 'Slight, I could so beat the
rogue! MALV. To be Count Malvolio!
TOBY. Ah, rogue!
ANDREW. Pistol him! Pistol him!
MALV. Having been three months married to her, sitting in
my state, calling my officers about me in my branched velvet
gown.
TOBY. Bolts and shackles!
MALV. [88) To ask for my kinsman, Sir Toby,-Toby
approaches; courtesies there to me-
TOBY. Shall this fellow live?
MALV. I extend my hand to him thus, saying, "Cousin Toby,
you
. must amend your drunkenness."
fiOBY. Out, scab!
· · MALV. [89 ) What employment have we here?[Picks up
. the
letter]
,u Why this is my lady's hand! By your leave, wax. [90]
i"Jove knows I love:
But who?
Lips, do not move;
No man must
know.
I may command where I
adore. But silence, like a
Lucrece knife,
With bloodless stroke my heart doth
gore: M,O,A,I, doth sway my life."
"M,O,A,I," -If I could make that alphabetical position
resemble some thing in me. Let me see, let me see.
"MOAI!" "MO-A-1," Malvolio!
Why that's my naffie! Soft! More words follow. "If this should
fall into thy hands, revolve! [91] In my stars I am above thee
but be not afraid of greatness. Some are born great, some
achieve greatness, and some have

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greatness thrust upon them. Be opposite with a kinsman and
surly with servants: She thus advises thee that sighs for theey
Remember who com mended thy yellow stockings and cross
garters. Go to, thou art made, if thou desirest to be so; if not,
let me see thee a steward still. Farewell!
The Fortunate Unhappy."
[92] Daylight and champion discovers not more. I will baffle
Sir Toby. I will be strange, stout in yellow stockings and cross
garters. Ah, here is

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26 TWELFTH

106. MARIA crosses Down Right and calls for Malvolio, then
returns Center to Olivia.
107. MALVOLJO leaps onstage Down Right and poses like
Cupid with an imaginary bow and aPow.
108. OLIVIA riseå, staring at Malvolio in disbelief. MARIA
crosses behind Olivia and whispers, "He is mad, stark raving
mad" into Olivia's ear.
109. MALVOLIO rushes to Olivia, picks up the hem of her dress,
and kisses it wildly. OLIVIA screams and rushes Left Center.
MARIA kneels and forms the sign of the cross to ward off
vampires.
110. MARIA rises and crosses to Olivia's side as if to protect her.
111. MALVOL/0 skips in a circle chanting the "greatness" lines.

112. MARIA crosses Down Left and whistles. OLIVIA starts

to cross Down Right. MALVOLJO leaps in front of her and lifts
his leg to reveal
-the yellow stockings. FESTE enters Up Left, FABIAN Up Right.
They
,fFOSs Down Center and grab Malvolio by the arms. They exit
Down Left as SIR TOBY enters, watching them drag a protesting
Malvolio off Down Left. MARIA kisses Sir Toby's cheek and they
shake hands as if congrat ulating each other. OLIVIA has exited
Down Right on her line, "Have this fellow looked to. "
113. SIR ANDREW enters Up Right on his first call of "Sir Toby!"
SIR TOBY and ARIA cross Center and meet ANDREW
under the willow trees. ANDREW hands Toby the letter.

114. MARIA nudges Toby's side and indicates the

approaching Ce sario off Right.

115. ANDREW crosses Down Left to exit. TOBY moves

quickly and stops him. CESARIO enters Down Right, stops.
TOBY crosses to Ce sario. ARIA is Center attempting to
suppress laughter.

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NIGHT 27

OLIVIA. Maria! Maria!

MARIA. Here, madame.
OLIVIA. Go Call Malvolio hither. He is sad and Civil.
MARIA. [106] Malvolio! My lady Calls!
MALV. [107] Sweet lady, ho! ho!
OLIVIA. Smilest thou? [108] I sent for thee upon a sad oCCasion.
MALV. Sad, lady? I Could be sad.
OLIVIA. What is the matter with thee?
MALV. Not blaCk in my mind, though yellow in my legs! OLIVIA.
Wilt thou go to bed, Malvolio?
MALV. To bed! [109] Ay, sweetheart, and I'll Come to thee!
MARIA. [110] Why appear you with this ridiCulous boldness before
my lady?
MALV. [III] Why, some are born great! Some aChieve greatness!
Some have greatness thrust upon them!
MARIA. For cefitain, madame, the man is mad!
.. OLIVIA; Heavens restore theeRı Maria, Call forth my ffien. [112] This
is very. midsummer madness. Have this fellow looked to.
· FESTEuWhiCh way is the madman in the name of sanCtity?
Gentle witĽ him, for he is mad.
MALV; Get your hands off me, for you are idle shallow things.
FESTE. Come with us, biddy.
ANDREW. [I13] Sir Toby, 0 Sir Toby! Here's the Challenge. Read
it! I warrant there's vinegar and pepper in't.
TOBY. [Reads/ "Youth, whatsoever thou art, thou art but a sCurvy
fellow." Good! Good! "I will waylay thee going home; where if it be
thy ChanCe to kill me, thou killest me like a rogue and a villain. Fare
thee well, and God have merCy on one of our souls.
Andrew AgueCheek."
ANDREW. Is't saucy!
TOBY. SauCy, I grant you. [I14] And we are in good luCk, for here
he Comes and he looks like a very devil. They say he has been fenCer to
the Sophy.
ANDREW. [115] Pox on it! I'll not meddle with him!
TOBY. Stay you here awhile and I'll go see what I can do. [To Ce
sario/Sir, yon gentleman claims you have wronged him, so prepare
yourself, for my assailant is quiCk, skillful, and deadly.
VIOLA. You mistake me, sir. I have no quarrel with him.
TOBY. There's no remedy, sir. He will fight with you!

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28 TWELFTH

116. TOBY crosses Down Left to Andrew and pats him in sympathy
on the shoulder. CLOWNS 3 and 4 enter Up Left and Up Right with
foils on pillows. They cross Down Left and Down Right behind Cesario
and Andrew.
117. The duel is as folËows: (a) "Weapons"- VIOLA and ANDREW
pick up foils from Clowns 3 and 4. (b) After "Take your positions"
ANDREW salutes with his foil, but as he brings it up to his face he
wounds his nose. VIOLA, not knowing how to fence, imitates Andrew
with great effort. (c) "On guard!"-ANDREW assumes a studied pose as
skiled fencer. He advances three steps and retreats three steps. VIOLA
imitates him. (d) VIOLA drops foil, stoops to pick it up; ANDREW
advances and "nicks" her in the rear end. (e) VIOLA, now angered,
grasps her foil with both hands and charges Andrew. (f) ANDREW, in
hysteria, hides Center behind Toby, but SIR TOBY pushes him to Down
Left. (g) ANDREW at Down Left Center and VIOLA at Down Right
Center thrust and parry. (h) VIOLA, in tears, runs offstage Right. AN
DREW walks around in a circle with his foil in the air. The CLOWNS
applaud the victor and SIR TOBY crosses to Andrew, shaking his hand.
118. TOBY puts his ann around ANDREW, and they move to Down
Center. TOBY indicates the approaching SEBASTIAN Down Right.
119. ANDREW stops SEBASTIAN by stepping in front of him. He
.slaps the cheek of Sebastian.
120. SEBASTIAN slaps and backhands Andrew's cheek three
times. 'ANDREW faints into the aRMs of SIR TOBY.
121. TOBY pulËs his foil from scabbard. He jumps into an "on guard"
position. SEBASTIAN does the same. OLIVIA enters Down Left.
122. OLIVIA crosses to Center between Toby and Sebastian.
123. . TOBY kneels and slaps Andrew on cheek to awaken him.
AN DREW rises and exits Down Left with TOBY. CLOWNS 3 and 4
tum and exit Up Right and Up Left. OLIVIA moves to Sebastian. She
kisses him on the fiips after the line "Be not offended. "
124. SEBASTIAN says this as an aside to the audience.
125. CLOWNS 5 and 6 separate Right and Left at Center. SEBAS
TIAN and OLIVIA cross Up Center between them. CLOWN 3 enters
Right and crosses Up Center above them. He a stained glass win
dow which he holds in front of him. OLIVIA and SEBASTIAN kneel
facing upstage in a tableau.
126. OLIVIA exits Up Left, SEBASTIAN Up Right, CLOWN 3 Up
Left after Ofiivia. CLOWNS 5 and 6 exit Right and Left. CLOWN 4 en
ters Up Right with a lamp post. He stops Up Center. Lively music in.
127. FESTE and FABIAN enter Down Left and stop Center. OR
and CESARIO enter Down Right.
128. OLIVIA enters Down Left.
129. ORSINO and CESARIO cross to Down Left. OLIVIA counters.
OLIVIA stops and turns to Cesario and Orsino at Down Right.

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NIGHT 29

VIOLA. [Aside} 0 pray heaven , defend me ! A little thing

would make me tell them how much I lack of a man .
TOBY. [ 1 1 6] Come , Sir Andrew. There is no remedy! He
has prom ised me as a gentleman that he will not hurt you.
ANDREW. Pray then that he keep his oath!
TOBY. Weapons! [I 1 7a] Take your positions! [ I I 7b]
On guard ! (1 1 7c,d,e,f,g,h] He was a coward , a devout coward !
ANDREW. 'Slid, I'll after him and beat him !
TOBY. [I 1 8 ] Do cuff him soundly! 0, what good fortune
for you, for here he comes again.
ANDREW. Now , sir, have I met you again ! [ 1 1 9 ] There's for
you !
SEBAST. [1 20] Why, there's for thee, and there, and there
. Are all you people mad?
TOBY. Come , sir, I will not let you go !
SEBAST. What wouldst thou now? If thou dar'st tempt me
further, draw thy sword!
TOBY. [121] Then I ćust have an ounce or two of
this malapert blood from you !
OLIVIA. Hold! [1 2fi] Sir Toby, hold ! Sheathe your sword and
get
, out of my sight. [1 23] Be not offended, dear Cesario.
SEBAST. [ 1 24] What relish is this? If this be a dream,
then still let me sleep!
OLIVIA. [ 1 25) Nay, do not sleep but come with me into
the chan try by and there be joined in marriage . What say you?
SEBAST. Madame, I will go with you. [126 ]
FESTE. [ I 27] And under the moon of Illyria, a wedding
joins the two.
FABIAN. Ah me! I am afraid this story will never be
resolved . FESTE. Yes it will. Let us let one day pass .
FABIAN. And summon our players onstage to end this
masquerade. [ 1 2 8 ]
FESTE. We are now on a street in lllyria. Here
approaches Orsino and Cesario.
FABIAN. And from this direction comes the fair
Olivia. ORSINO. [ 1 29) Come, boy , with me!
VIOLA. Yes , my lord.
OUVIA. Ay me , how am I beguil'd
VIOLA. Who does beguile you? Who has done you

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wrong? ORSINO. Come away , boy!

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30 TWELFTH

130. ANDREW enters quickly Up Left and crosses to lamp

post Up Center.
131. SIR TOBY follows in a wheelchair pushed by MARIA.
SIR TOBY's head is bandaged and his arm is in a sling. SIR TOBY is
wheeled Down Center by MARIA. ANDREW peaks over Maria 's
shoulder to ac cuse Cesario.
132. SEBASTIAN enters Down [Link] VIA tuRNs to look
at him. Everyone on stage looks back and forth from Sebastian to
Cesario. The stage composition is as follows : (a) SEBASTIAN
and OLI VIA Down Right. (b) FESTE and FABIAN Down Right
Center and Down Left Center. (c) SIR TOBY Center with A
RIA and ANDREW behind the wheelchair. {d) CESARIO and
ORSINO Down Left. {e) CLOWN 4 Up Center holding lamp
post.
133. . SEBASTIAN and VIOLA cross and meet Center below Sir
Toby.
134. SEBASTIAN and VIOLA embrace. All the other actors
cheer and applaud the reunion.
135. . VIOLA turns to Orsino and crosses to him. She
removes her luzt to reveal her true identity. She throws her
arms around him. SEBAS TIAN tuRNs to Olivia.
136. SEBASTIAN embraces OLI VIA.

13 7. MA L VOLIO enters quickly to Center below Toby.

138. OLI VIA crosses Center to Malvolio. When MARIA
explains, OLI VIA and AL VOLIO give Right and Left.

139. MAL VOLIO crosses Down Left and exits.

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 NIGHT 31

OUVIA. Cesario, husband, stay!

ORSINO. Her husband, sirrah?
VIOLA. No, my lord, not I ! (1
30)
ANDREW. For the love of God, a surgeon! Send one to Sir
Toby! You! [pointáng to Cesario} You are villainous. He has
broke my head and has given Sir Toby a bloody coxcomb too!
(131]
TOBY. Sot! Didst thou see Dick Surgeon, sot?
VIOLA. Why do you speak to me? I have hurt you not. (1 32)
SEBAST. I am sorry, madam, I have hurt your kinsman but
they met me in the street and provoked a duele Pardon me ,
sweet one.
ORSINO. One face, one voice, one habit, and two
persons. SEBAST. ( 1 3 3 ) Do I stand there? I once
had a sister . . .
VIOLA. I once had a brother and if spirits can assume
both form and suit, you come to fright us.
SEBAST. Were you a woman, as the rest
goes even, I should my tears let fall upon your
cheek,
And say ''Thrice-welcome; drowned Viola! " [
134] VIOLA. ( 1 3 5 ) If nothing lets to make us
happy both
· •. Butthis my masculine usurp'd attire,
. · . Then know that I am Viola.
·SEBAST. So comes it, sweet Olivia, you have been mistook. [1
36] ORSINO. Boy, thou has said to me a thousand times
That thou never shoudst love woman like to
me . So give me thy hand;
And let me see thee in thy woman's weeds.
MALV. (1 37) sweet lady! You have done me notorious
wrong. OLIVIA. [1 38) Have I, Malvolio? No.
MALVx Lady, you have. Pray you, peruse this letter.
You must not now deny it is in your hand.
Why have you made me the most notorious geck and
gull That e'er invention played on? tell me, why?
OLIVIA. Alas, Malvolio, this is not my writing; but out of
question, it is Maria's hand.
MARIA. I must confess 'twas I who wrote the letter at Sir
Toby's importance, in recompense whereof he hath married me .
OLIVIA. Alas, poor fool, how have they baffled thee
! MALV. I'l be revenged on the whole pack of
you! (139)
FABIAN. Why, some are born great and some have
greatness thrust upon them !

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32 TWELFTH

140. CL O WN 4 exits Up R ight. CL O WNS 5 and 6 enter Up

R ight and Up L eft with standards. They stand above
Sebastian -Olivia and Or sino- Viola. [Link] and [Link] cross
Down Center and sit with crossed legs below Toby -Maria-
Andrew. Segue into the following song, "Hey, ho. ·· CLO WNS
3 and 4 enter Up R ight and Up L eft with "Twelfth Nigh t"
discs. They stop Up Center above Sir To by. Song ends with
tableau.

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NIGHT 33

O RSINO. Pu rsue him and e ntreat him to a peace : fiesa ťio ,

Come ; For so you shall be while you are a ma n ;
But when in other habits you are seen ,
Orsi no's m i s t ress a n d his fanc y' s q u ee n . [ 1 40 ]
FESTE & FABIAN. A great while ago the wor l d begun
With a hey , ho, the wind a nd the rain ,
But that' s all one , our play is done ,
And we'll strive to please you eve ry day .

The En d

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 3

PRODUCTION NOTES

Propertitls
4 stools
2 g u i tars (may be pract ical or prop instru ments)
Tambou r i n e
Percu ssion wood block
Table
2 discs (3' in diameter) at tached to 6' poles. One disc has "Twel fth" on it. the
other " N i g h t . " Co l o r fu l ribbons hang from the base of each disc .
2 standards on 6' po les. One standard has coat of arms for Orsi n o , the other
for O l i v i a .
6' stai ned glass wi ndow with hand les on the back so it can be carried (paper
resembl ing stained glass may be purchased from thea tre supply companies ; stai ned gla
ss may also be simu lat ed with theatrical gelat in) .
Cu t· o u t of a street lamp attached to a pole
2 twigs of greenery
2 poles with branches. Branches have leaf cut· outs and flowers.
2 scro l l s
4 tankards
2 trays
Jug
1 0' s t r i p of sheer blue material (dowel rods in either end ) -the sea
Bott le of sack (w h i t e wine)
Book
Wheelchai r
2 p i l lows
2 fo ils
2 swords or fo i l s
2 letters
Letter w i th wax seal
Staff
Stewa rd 's ch ai n
Monocle
Linen cloth
Hand mi rror
Rose
Lantern
R i ng

Note: Stage properties should be colorful and theatrical.

Costumes and Make-up

The costumer has a wide choice of sty les. Actors in Shakespeare's day wore t h ei r
own cl othes, regard less of the period of the play. Modern experimental pro ductions have
used vi r t u al l y every conceivable type of costu mes. Cecil Pickett's stage di rect ions
specify part icular costume requirements. i n c l u d i n g Mal v o l i o ' s yel· low stock ings and
cross-ga rters y men wore cross-garters both below
and above the knee.
"T his production should be played in the style of the commedia dell'arte,"
Ceci l Pickett suggests. "The clowns s h o u l d be costumed as Scapino, Scaramouche, or
Harlequ i n . Clowns 1 , 2. 3, and 4 should be masked" [black d o m i n o mask s) .

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 35

Costuming a n d make-up are essential ingredients in produCing t h e twins, Se

bastian and V i o l a . The start ing point is Choosi ng an aCtor and an aCtress simi lar i n size
and weight. Wigs Can give them hai r o f the same Color and sty le. Cesario' s Cos tume
must be identiCal i n every way with Sebastian's, from hat to shoes. E qual l y importa nt
are d ist i nctive sty le a nd Color. Two people in wh ite T-sh irts a nd bl ue jeans may not
make a matC h i ng p a i r . But put them in ident iCa l vivid C o l o r s with the image of a
commedia CharaCter ( l i ke R uzza nte or NarC isino) a nd you have tw ins. There are
other faCtors that Ca n enha nCe the ill usion: similar basiC po sture a nd an ident iCal
posture g imm iCk, suCh as an ident if iable sta nCe or wa l k ; a CharaC terist iC gesture { suCh
as pu l l i ng an ear or brushi ng hair out of the eyes) . The two performers mu st praCt iCe im
itat ing eaCh other in every way.

Music and Sound Effects

" M us i C ma y be either trad it io n a l o r , if you C h oo se , roC k ," M r . P i C k ett advises . A
voCal score of t he musiC from Twelfth Nigh t Can be purChased from Samuel FrenCh , I
nC. ReCord ings an d tapes of the musiC from Shakespeare's plays ar e avai lable i n many
musiC stores. DireCtors who Can not find s k i l l ed gui tari sts o r banjo or lute players may
delete C lowns 1 and 2 and use recorded musi C , or Cl owns 1 and 2 may mime
playing guitars or l utes.

The Set
This adaptation of Twelfth Night is designed for a bare stage. The Clowns bring
on and ta ke off stage p rops to ind iCate the various sCenes. It is of utmost impor tanCe
that the movement of the Clowns be sprightly, sty lish, and wel l Coo rdi nated
-vi rtua l l y a ba l letv G raCef u l gesture s ho ul d aCCompany the p laCement a nd remov a l
of the set pieces. A nd there must be n o delay-not even enough pause for a snap of
the fingers. PreCisely at the moment that two Clowns are ex iting with thei r props,
two more should be entering with thei rs.

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