Breakneck Twelfth Night
March 1 @ 12:30 pm - 1:29 pm
$15Award-winning national touring artist Timothy Mooney makes his SIXTH appearance at the Rogue Performance Festival with “Breakneck Twelfth Night,” a show which won Best in Venue at the KC Fringe Festival.
Mr. Mooney’s work with the Rogue began in 2012 with his groundbreaking “Lot o’ Shakespeare” (featuring one monologue from every Shakespeare play)!
He followed that up with more one-man shows: “Breakneck Hamlet” (2016), “Man Cave” (2020), “Breakneck Comedy of Errors” (2022) and “Breakneck Romeo & Juliet” (2024). (Following a substantial legacy grant from the DeHaan Family Foundation, Tim is now working his way through Shakespeare’s entire catalogue Breakneck style!)
Tim describes “Twelfth Night” as a wildly gender-bending comedy! Twelfth Night actually had a lot more to do with Mardi Gras than Christmas, with men playing women and a good many more dirty jokes than were usually allowed. While the Duke sends Viola (disguised as the man, Cesario) to woo the Countess Olivia, complications compound when Olivia falls for the messenger!
As usual, Tim plays all the roles, from the drunken Sir Toby Belch, to the prudish Malvolio, the foppish Andrew Aguecheek, the suspiciously gay pirate, Antonio, as well as the twins, Sebastian and Viola.
Of course, the one advantage to playing all of the roles is that when the same person plays a pair of twins, those twins do, indeed look alike! Add to this, Shakespeare’s added confusions of mistaken identity, mistaken love, disguise and discoveries such that it turns into an existential comedy, leaving us questioning just what, if anything, is. Or, as Feste notes, “Nothing that is so, is so.”
Tim, who has written new music to Shakespeare’s lyrics, notes, “This play is the closest that Shakespeare ever came to cranking out a musical.”
The official KC Fringe Review raved, “Timothy Mooney masterfully delivers to audiences a one-man, high-energy performance of Shakespeare’s ‘Twelfth Night,’ a romantic comedy of five long acts in just one short hour — a feat that can only be described as exhausting! Mooney is narrator and actor in this bite-sized play, demonstrating his scholarly understanding of the text while retaining all of its nuance and charm, making it exceptionally palatable to first timers. The farcical plot and eccentric cast of characters are easily entertaining, but Mooney engages them to their highest degree with his innate comedic instincts and bold physicality.”
At the Indy Fringe, JayHarveyUpstage cheered, “Mooney roams among the dramatic personae adeptly, turning this way and that, subtly but firmly altering his voice to approximate believable dialogue. [W]hen it comes to helping each character command the space around him/her and project both individual nature and intentions upon it, Mooney was a master.”
Other audience reviews roared, “A true Fringe master,” “He honestly is my favorite way to experience Shakespeare!” “William never sounded so good,” “His boundless physical comedy is a joy to see unfold.”
Related Events
Award-winning national touring artist Timothy Mooney makes his SIXTH appearance at the Rogue Performance Festival with “Breakneck Twelfth Night,” a show which won Best in Venue at the KC Fringe Festival.
Mr. Mooney’s work with the Rogue began in 2012 with his groundbreaking “Lot o’ Shakespeare” (featuring one monologue from every Shakespeare play)!
He followed that up with more one-man shows: “Breakneck Hamlet” (2016), “Man Cave” (2020), “Breakneck Comedy of Errors” (2022) and “Breakneck Romeo & Juliet” (2024). (Following a substantial legacy grant from the DeHaan Family Foundation, Tim is now working his way through Shakespeare’s entire catalogue Breakneck style!)
Tim describes “Twelfth Night” as a wildly gender-bending comedy! Twelfth Night actually had a lot more to do with Mardi Gras than Christmas, with men playing women and a good many more dirty jokes than were usually allowed. While the Duke sends Viola (disguised as the man, Cesario) to woo the Countess Olivia, complications compound when Olivia falls for the messenger!
As usual, Tim plays all the roles, from the drunken Sir Toby Belch, to the prudish Malvolio, the foppish Andrew Aguecheek, the suspiciously gay pirate, Antonio, as well as the twins, Sebastian and Viola.
Of course, the one advantage to playing all of the roles is that when the same person plays a pair of twins, those twins do, indeed look alike! Add to this, Shakespeare’s added confusions of mistaken identity, mistaken love, disguise and discoveries such that it turns into an existential comedy, leaving us questioning just what, if anything, is. Or, as Feste notes, “Nothing that is so, is so.”
Tim, who has written new music to Shakespeare’s lyrics, notes, “This play is the closest that Shakespeare ever came to cranking out a musical.”
The official KC Fringe Review raved, “Timothy Mooney masterfully delivers to audiences a one-man, high-energy performance of Shakespeare’s ‘Twelfth Night,’ a romantic comedy of five long acts in just one short hour — a feat that can only be described as exhausting! Mooney is narrator and actor in this bite-sized play, demonstrating his scholarly understanding of the text while retaining all of its nuance and charm, making it exceptionally palatable to first timers. The farcical plot and eccentric cast of characters are easily entertaining, but Mooney engages them to their highest degree with his innate comedic instincts and bold physicality.”
At the Indy Fringe, JayHarveyUpstage cheered, “Mooney roams among the dramatic personae adeptly, turning this way and that, subtly but firmly altering his voice to approximate believable dialogue. [W]hen it comes to helping each character command the space around him/her and project both individual nature and intentions upon it, Mooney was a master.”
Other audience reviews roared, “A true Fringe master,” “He honestly is my favorite way to experience Shakespeare!” “William never sounded so good,” “His boundless physical comedy is a joy to see unfold.”
Related Events
Award-winning national touring artist Timothy Mooney makes his SIXTH appearance at the Rogue Performance Festival with “Breakneck Twelfth Night,” a show which won Best in Venue at the KC Fringe Festival.
Mr. Mooney’s work with the Rogue began in 2012 with his groundbreaking “Lot o’ Shakespeare” (featuring one monologue from every Shakespeare play)!
He followed that up with more one-man shows: “Breakneck Hamlet” (2016), “Man Cave” (2020), “Breakneck Comedy of Errors” (2022) and “Breakneck Romeo & Juliet” (2024). (Following a substantial legacy grant from the DeHaan Family Foundation, Tim is now working his way through Shakespeare’s entire catalogue Breakneck style!)
Tim describes “Twelfth Night” as a wildly gender-bending comedy! Twelfth Night actually had a lot more to do with Mardi Gras than Christmas, with men playing women and a good many more dirty jokes than were usually allowed. While the Duke sends Viola (disguised as the man, Cesario) to woo the Countess Olivia, complications compound when Olivia falls for the messenger!
As usual, Tim plays all the roles, from the drunken Sir Toby Belch, to the prudish Malvolio, the foppish Andrew Aguecheek, the suspiciously gay pirate, Antonio, as well as the twins, Sebastian and Viola.
Of course, the one advantage to playing all of the roles is that when the same person plays a pair of twins, those twins do, indeed look alike! Add to this, Shakespeare’s added confusions of mistaken identity, mistaken love, disguise and discoveries such that it turns into an existential comedy, leaving us questioning just what, if anything, is. Or, as Feste notes, “Nothing that is so, is so.”
Tim, who has written new music to Shakespeare’s lyrics, notes, “This play is the closest that Shakespeare ever came to cranking out a musical.”
The official KC Fringe Review raved, “Timothy Mooney masterfully delivers to audiences a one-man, high-energy performance of Shakespeare’s ‘Twelfth Night,’ a romantic comedy of five long acts in just one short hour — a feat that can only be described as exhausting! Mooney is narrator and actor in this bite-sized play, demonstrating his scholarly understanding of the text while retaining all of its nuance and charm, making it exceptionally palatable to first timers. The farcical plot and eccentric cast of characters are easily entertaining, but Mooney engages them to their highest degree with his innate comedic instincts and bold physicality.”
At the Indy Fringe, JayHarveyUpstage cheered, “Mooney roams among the dramatic personae adeptly, turning this way and that, subtly but firmly altering his voice to approximate believable dialogue. [W]hen it comes to helping each character command the space around him/her and project both individual nature and intentions upon it, Mooney was a master.”
Other audience reviews roared, “A true Fringe master,” “He honestly is my favorite way to experience Shakespeare!” “William never sounded so good,” “His boundless physical comedy is a joy to see unfold.”
Related Events
Award-winning national touring artist Timothy Mooney makes his SIXTH appearance at the Rogue Performance Festival with “Breakneck Twelfth Night,” a show which won Best in Venue at the KC Fringe Festival.
Mr. Mooney’s work with the Rogue began in 2012 with his groundbreaking “Lot o’ Shakespeare” (featuring one monologue from every Shakespeare play)!
He followed that up with more one-man shows: “Breakneck Hamlet” (2016), “Man Cave” (2020), “Breakneck Comedy of Errors” (2022) and “Breakneck Romeo & Juliet” (2024). (Following a substantial legacy grant from the DeHaan Family Foundation, Tim is now working his way through Shakespeare’s entire catalogue Breakneck style!)
Tim describes “Twelfth Night” as a wildly gender-bending comedy! Twelfth Night actually had a lot more to do with Mardi Gras than Christmas, with men playing women and a good many more dirty jokes than were usually allowed. While the Duke sends Viola (disguised as the man, Cesario) to woo the Countess Olivia, complications compound when Olivia falls for the messenger!
As usual, Tim plays all the roles, from the drunken Sir Toby Belch, to the prudish Malvolio, the foppish Andrew Aguecheek, the suspiciously gay pirate, Antonio, as well as the twins, Sebastian and Viola.
Of course, the one advantage to playing all of the roles is that when the same person plays a pair of twins, those twins do, indeed look alike! Add to this, Shakespeare’s added confusions of mistaken identity, mistaken love, disguise and discoveries such that it turns into an existential comedy, leaving us questioning just what, if anything, is. Or, as Feste notes, “Nothing that is so, is so.”
Tim, who has written new music to Shakespeare’s lyrics, notes, “This play is the closest that Shakespeare ever came to cranking out a musical.”
The official KC Fringe Review raved, “Timothy Mooney masterfully delivers to audiences a one-man, high-energy performance of Shakespeare’s ‘Twelfth Night,’ a romantic comedy of five long acts in just one short hour — a feat that can only be described as exhausting! Mooney is narrator and actor in this bite-sized play, demonstrating his scholarly understanding of the text while retaining all of its nuance and charm, making it exceptionally palatable to first timers. The farcical plot and eccentric cast of characters are easily entertaining, but Mooney engages them to their highest degree with his innate comedic instincts and bold physicality.”
At the Indy Fringe, JayHarveyUpstage cheered, “Mooney roams among the dramatic personae adeptly, turning this way and that, subtly but firmly altering his voice to approximate believable dialogue. [W]hen it comes to helping each character command the space around him/her and project both individual nature and intentions upon it, Mooney was a master.”
Other audience reviews roared, “A true Fringe master,” “He honestly is my favorite way to experience Shakespeare!” “William never sounded so good,” “His boundless physical comedy is a joy to see unfold.”
Related Events
Award-winning national touring artist Timothy Mooney makes his SIXTH appearance at the Rogue Performance Festival with “Breakneck Twelfth Night,” a show which won Best in Venue at the KC Fringe Festival.
Mr. Mooney’s work with the Rogue began in 2012 with his groundbreaking “Lot o’ Shakespeare” (featuring one monologue from every Shakespeare play)!
He followed that up with more one-man shows: “Breakneck Hamlet” (2016), “Man Cave” (2020), “Breakneck Comedy of Errors” (2022) and “Breakneck Romeo & Juliet” (2024). (Following a substantial legacy grant from the DeHaan Family Foundation, Tim is now working his way through Shakespeare’s entire catalogue Breakneck style!)
Tim describes “Twelfth Night” as a wildly gender-bending comedy! Twelfth Night actually had a lot more to do with Mardi Gras than Christmas, with men playing women and a good many more dirty jokes than were usually allowed. While the Duke sends Viola (disguised as the man, Cesario) to woo the Countess Olivia, complications compound when Olivia falls for the messenger!
As usual, Tim plays all the roles, from the drunken Sir Toby Belch, to the prudish Malvolio, the foppish Andrew Aguecheek, the suspiciously gay pirate, Antonio, as well as the twins, Sebastian and Viola.
Of course, the one advantage to playing all of the roles is that when the same person plays a pair of twins, those twins do, indeed look alike! Add to this, Shakespeare’s added confusions of mistaken identity, mistaken love, disguise and discoveries such that it turns into an existential comedy, leaving us questioning just what, if anything, is. Or, as Feste notes, “Nothing that is so, is so.”
Tim, who has written new music to Shakespeare’s lyrics, notes, “This play is the closest that Shakespeare ever came to cranking out a musical.”
The official KC Fringe Review raved, “Timothy Mooney masterfully delivers to audiences a one-man, high-energy performance of Shakespeare’s ‘Twelfth Night,’ a romantic comedy of five long acts in just one short hour — a feat that can only be described as exhausting! Mooney is narrator and actor in this bite-sized play, demonstrating his scholarly understanding of the text while retaining all of its nuance and charm, making it exceptionally palatable to first timers. The farcical plot and eccentric cast of characters are easily entertaining, but Mooney engages them to their highest degree with his innate comedic instincts and bold physicality.”
At the Indy Fringe, JayHarveyUpstage cheered, “Mooney roams among the dramatic personae adeptly, turning this way and that, subtly but firmly altering his voice to approximate believable dialogue. [W]hen it comes to helping each character command the space around him/her and project both individual nature and intentions upon it, Mooney was a master.”
Other audience reviews roared, “A true Fringe master,” “He honestly is my favorite way to experience Shakespeare!” “William never sounded so good,” “His boundless physical comedy is a joy to see unfold.”