Skip to Content

College of Arts & Sciences
Department of Theatre and Dance


TWELFTH NIGHT at Drayton Hall Theatre

Saturday, October 14, 2017 - 8:00pm


The University of SC Dept. of Theatre and Dance
presents

Twelfth Night

Written by William Shakespeare
Directed by Louis Butelli


October 6-14, 2017

Drayton Hall Theatre
1214 College St.


Show Times:

Friday, October 6: 8pm
Saturday, October 7: 8pm
Sunday, October 8: 3pm
Tuesday, October 10: 8pm
Wednesday, October 11: 8pm  
Thursday, October 12: 8pm
Friday, October 13:  8pm
Saturday, October 14: 3pm
Saturday, October 14: 8pm

Tickets:
$15  |  Students
$20  |  USC Faculty/Staff, Military and Seniors 60+
$22  |  General Admission

Box Office: 777-2551
Or purchase in person at Longstreet Theatre.
Box Office Hours: 12:30pm - 5:30pm, Monday - Friday

Tickets on sale starting Friday, September 29.


One of Shakespeare’s most beloved plays, Twelfth Night is a madcap tale of mistaken identity and unrequited love.  After a shipwreck, twins Sebastian and Viola become stranded — and separated —  on the island kingdom of Illyria.  To survive, Viola disguises herself as a boy (Cesario), so she can work for the nobleman Orsino, whom she secretly loves.  Her new identity piques the romantic interest of the Lady Olivia, who is being courted by Orsino.  When Viola’s long-lost brother shows up and is mistaken by Olivia as Cesario, the love triangle becomes even more delightfully entangled.  Veteran Shakespearean director Louis Butelli (Folger Theatre, Aquila Theatre Co.) is shaping this Bard favorite into a fun, music-filled delight, with a design evoking the “Golden Age of Hollywood.”

“It’s not meta, like we’re actually on a film set,” Butelli says. “But, it is inspired by old Hollywood — the color palette, the cut of the clothes, that sort of thing.   A technicolor wonderland.”

Using old Hollywood imagery as an overarching concept works well on several levels with Shakespeare’s complex comedy, Butelli says. 

“The plot is very intricate and the relationships are sometimes ambiguous,” says the director.  “This conceptualization means we can assign each of the subplots to a different film genre or old Hollywood trope, and help the audience’s comprehension by using very clear visual cues that differentiate each subplot’s style.  The framework also helps in that the play starts in this very glossy, artificial place, and then as the truth eventually comes out, the characters’ humanity starts to burn through the Hollywood gloss.” 

Read more