One, when Sir Andrew Aguecheek, played by a wonderfully campy Haas Regen (Aside: why does good Shakespeare we've seen seem to have at least one campy part? ) decides he has had enough of Olivia's (Georgia Cohen) moaning after Cesario (Annie Purcell) and is quitting the boisterous castle where he and Sir Toby (Andy Grotelueschen) have been making merriment.
He comes on stage with a driver's scarf wrapped around his neck, and goggles perched on his head, and proceeds to take a table placed in the middle of the stage--this production's only real prop--turn it on its side and attach four bicycle wheels to each of the corners, as if he is preparing to drive off. Toby talks him out of it, by telling him,
She did show favour to the youth in your sight only
to exasperate you, to awake your dormouse valour, to
put fire in your heart and brimstone in your liver.
But the little detail of having Andrew overturn the table, and screw the wheels onto its sides shows the thought and care that went into this play
The second image that remains in my mind nearly a week after seeing the play occurred a few moments after. At one point I remember looking up from the action to the audience seated on risers around the stage. The AC had gone out by that point, it was a sweltering city summer night, and all of the fifty or so people had turned their playbills into makeshift hand fans. From where we sat, it looked like the whole audience was a-flutter, waving dozens of tiny wings, but all remained riveted to the play going on beneath them