Love Storms, Mistaken Identities & New Beginnings: Detroit Mercy Theatre Company’s ‘Twelfth Night’
From the vantage of a theatre critic deeply engaged with questions of identity, belonging, and the enduring relevance of classic works, the Detroit Mercy Theatre Company’s production of Twelfth Night (by William Shakespeare, adapted by Marc Palmieri) is not simply a merry comedy but a bold declaration about the power of transformation and the theatre’s role in community renewal. Directed by Sarah Hawkins Rusk, this lively version layers Shakespeare’s timeless joy with a contemporary energy, launching the company’s new home — the much‑anticipated Detroit Mercy Black Box Theatre.
[Warning: spoilers from Twelfth Night are below!]
A Story Re‑Spun in Illyria
The plot begins simply: twins Viola (Gracie Sheets) and Sebastian (Gavin Rapuzzi) are separated by a shipwreck, believing the other lost at sea. In the land of Illyria, Viola (in disguise) takes up service with Duke Orsino (Josiah Martelle), only to fall for him — while Orsino yearns for Countess Olivia (Arianna Engell), who in turn falls for Viola’s alter‑ego. Meanwhile, a riotous subplot of pranksters — Sir Toby Belch (Andrew Papa), Sir Andrew Aguecheek (Jordan Collyer), Maria (Kaelyn Johnson), and Fabian (Joseph Pacitto) — conspires against the pompous steward Malvolio (Peter Prouty). Add in the witty Feste (La donte’ Hartfield), the loyal Antonio (Li Udell), and smaller but essential figures like Curio (Riley McDevitt) and the Musician (Chisomaga Nwoke), and the result is a layered world of humor, longing, and self-discovery.
Because this adaptation is tightened to a 90‑minute runtime with no intermission, the result is lean, fast‑moving, and immersive — the laughter, confusion, and heartache all unfold in one breath, making for a more urgent, singular theatrical experience.
Performance & direction of Twelfth Night
Under Sarah Hawkins Rusk’s direction, the production finds the sweet spot between Shakespeare’s verbal flourish and modern sensibility. The pacing is brisk, characters shift swiftly from comedy to emotional truth, and the youthful vitality of the cast makes the centuries-old text feel fresh and alive.
The decision to open this production in the brand‑new Black Box Theatre at the University of Detroit Mercy adds significance: it’s not only a staging of Twelfth Night, but a homecoming and renewal. The ensemble embraces the play’s gender‑fluid disguises and layered identities with enthusiasm and energy. The intimate space allows them to blur boundaries between performer and audience — a fitting reflection of the play’s themes of disguise and self-revelation.
Themes that resonate today from this Detroit Mercy Theatre Company production
Despite its 17th‑century origins, Twelfth Night’s themes of identity, desire, belonging, and disguise feel deeply modern. For today’s audiences — living in a moment of rapid change, shifting identities, and questions of self‑expression — this version becomes more than a frivolous comedy: it’s a reflection of how we search for role, place, love, and truth beneath the masks we wear.
The fact that this production opens a new theatre space in Detroit’s Live6 neighborhood underscores the connection between art and community. The play’s joyful chaos mirrors the creative renewal the company is embracing in its return to campus and deeper local engagement.
Sidebar: A New Stage for Detroit Mercy — and for Detroit Theatre
The University of Detroit Mercy’s new Black Box Theatre marks a defining moment for both the campus and the city’s performing arts community. After years of planning and anticipation, the intimate, flexible space opened its doors this fall, offering a home designed for experimentation, student creativity, and professional-level storytelling.
Located in the heart of Detroit’s Live6 neighborhood, the venue positions itself at the intersection of education and civic engagement. The Black Box’s adaptable design — a flat floor with movable seating and modular staging — allows for productions that can morph from traditional stagings to immersive, site-specific experiences. It also enables close audience proximity, a feature that Twelfth Night uses to full effect, dissolving barriers between performer and spectator.
Beyond its technical versatility, the theatre’s opening signals something larger: a recommitment to Detroit Mercy Theatre Company’s mission of connecting the university’s values with contemporary artmaking. Here, theatre isn’t only entertainment; it’s dialogue, reflection, and community building.
As Detroit continues to experience a cultural renaissance, the Black Box becomes more than a new stage — it’s a symbol of renewal. A place where the next generation of actors, directors, and designers can explore stories that challenge, heal, and reimagine what Detroit theatre can be.
Final Thoughts
In sum: Detroit Mercy Theatre Company’s Twelfth Night is neither a dusty revival nor a gimmicky update — it is a vibrant, confident production that meets Shakespeare on his own ground and then strides forward into our world. With Sarah Hawkins Rusk at the helm and the opening of the Black Box Theatre as backdrop, this show feels like a gateway: to new space, new perspectives, and new theatre experiences in Detroit.
If audiences leave this production not simply entertained but awakened to their own questions of identity, disguise, love, and belonging — then Detroit Mercy has achieved something essential. In a time when theatre too often plays it safe, this Twelfth Night dares to be lively, immediate, and necessary.
All public performances are sold out at this time. Stay in the know with upcoming performances from Detroit Mercy Theater Company and keep your eyes here on BoxSeatBabes on coverage for the rest of their season!
