The New York Post review is interesting. 3/4 stars. Some highlights:
http://www.nypost.com/seven/06262009/entertainment/theater/an_annes_world_176118.htm?&page=1 "The actress(Hathaway)'s anime features (huge dark eyes, impossibly wide mouth) also work to her advantage when Viola dons male clothing and becomes Cesario, since so many Japanese cartoon characters are both sexually indeterminate and oddly neutered.
This may be one of the reasons sparks never really fly between Cesario and Audra McDonald's Olivia. The latter bizarrely goes overboard as soon as her character gets crushed out on her handsome "gentleman" caller.
McDonald, perhaps trying to counter her reputation as a cerebral actress, dials up the eye rolls and girlish giddiness, as if playing to the peanut gallery all the way in Weehawken....
One of the great things about "Twelfth Night" is the way caddish Orsino starts in love with Olivia then finds himself confused by his attraction to Cesario.
Here you never feel anything of the sort. Orsino even looks kind of bummed out at the end, as if he had to content himself with second best when marrying Viola.
It says something about the tone of a production of "Twelfth Night" when you can't wait for Orsino, Olivia and Viola to make room for Olivia's doofus suitor, Andrew Aguecheek.
Lanky, droll Hamish Linklater is perfect as that hapless buffoon. Bouncing about John Lee Beatty's AstroTurf knolls (I kept expecting Teletubbies to appear), he provides the night's most uproarious moments....
So yes, it's a fine and jolly evening. But there's also a little something missing -- an undercurrent of wistfulness, perhaps, a certain melancholia to balance out the laughs. As a result, the show is hard to dislike -- but it's also hard to love."
