Photo courtesy CTC: Colorized by Andrew Chase-Ziolek Patty cake, patty cake, who’s the man? ‘Twelfth Night’ is a case of mistaken identities.

Sexual Ambiguity! Drunkenness! Cross-gartered stockings! Handcuffs!

This show has it all, including a pair of twins who cause mistaken identity in the plot, much like in “The Comedy of Errors,” the last Shakespeare that Calvin Theatre Company tackled. However, here the similarities end. While “Comedy” was a whirlwind of spectacle and clever insanity, the beauty of “Twelfth Night” lies not in the center but in the details. In order not to miss anything, here is a to-do list for the casual viewer of “Twelfth Night.”

Be certain you arrive early. The pre-show kicks off with a splendid vomiting scene, perhaps the first at Calvin. Apart from viewing the frolicking entourage, take note of the way the Gezon has been amazingly transformed into a world of stone and foliage, with playful lights suggesting an intense spring urge. This is a set of the highest caliber: one of the best Calvin has ever seen. It ranks up with “The Physicists” and “Translations,” for those who will remember them.

The plot unfolds with a triangular dilemma. Viola, separated from her twin brother at sea, arrives in a country where she assumes it is safer to pretend she is a servant until she gets her bearings. However, because the lady of the town has also recently lost a brother, she refuses to receive visitors, thereby cutting off Viola’s chances of securing a place as a lady-in-waiting. Viola instead dresses as a man to serve the lord across town. His name is Orsino and he has a thing for the mourning lady, Olivia. When Orsino commands his new servant “Cesario” to bring his amorous messages to his bipolar sweetheart, the hapless lady indeed decides to throw off her mourning. However, it is love for “Cesario” that makes her suddenly decide to forget her loss.

Meanwhile, “Cesario’s” well-hidden breast is longing for the man she serves. The intense attraction between man and woman (man thinking woman is man) and woman and woman (woman thinking woman is man) raises some very interesting questions about who really belongs with whom.

While this is an engaging contest, you may find yourself wondering instead which of the triangle is the fairest. Larissa Theule, back from giving the performance of a lifetime in “Wuthering Heights,” Catherine Hannah, sporting the latest treasures from costumer Melissa Merz in black and crimson, and pretty newcomer Peter Westerhuis are three of the loveliest actors to grace any stage anywhere.

Of the comedic subplots, be sure to watch out for David Ellens as Sir Andrew and Nick Dekker as Olivia’s steward, Malvolio. Sir Andrew seems to be a hyperactive relative of Billy Elliot’s whom the family disowned in fear. Apparently (and luckily for the audience) he’s ended up in Illyria and is hilarious.

Dekker packs enough life into Malvolio to make the audience sit up and grip their neighbors in happy anticipation every time he enters. From his hunchbacked, twitchy demeanor, to his rasping speedy speech, to his sudden ballet and stocking fetish, Malvolio is the real highlight of “Twelfth Night.” Not since Dan Ackroyd impersonated Richard Nixon has such a comedic character been born. This role assures senior Dekker’s CTC career will end with a bang.

Sit still, if you can, during intermission. The entourage grants the audience with some lovely tunes in four-part harmony. See if you can pick out Amy Holwerda, the entourage member who manages to stay disgruntled for the entire show. Her huge eyes flash disdain and disgust wherever she goes, no matter what happens to be taking place around her.

Freshman Brandon Langland, whose character shows up rather suddenly towards the end of the first half, shows a remarkable command of Shakespearean language and style.

Nick Kolk may seem a tad sedate for a frightening pirate who has killed several people in Illyria, but just wait until the coppers get some handcuffs on him. Until then, wonder with the rest of us what Shakespeare meant by having the pirate and the strapping brother of Viola share more declarations of love and devotion than any of the (mistaken or not) male/female relationships. Viola’s brother, Sebastian, may also be called scrappy, as his youthful energy and masculine fervor distinctly remind you of Scooby-Doo’s small nephew.

Details that are hard to miss: Brian Risselada, who plays the lead drunk Sir Toby Belch, can, in fact, belch on cue.

If you don’t see Becky Carpenter, another member of the entourage, you will hear her. Her flute-like voice leads the ensemble in the musical numbers very well.

Also, it is almost impossible to miss Beth Gunnink, a towering nightmare fairy in the prologue in the show, full of poise and perfection.

Again, the beauty of “Twelfth Night” is in the details. I have highlighted my favorites for you, but believe me, there is much, much more. Follow all these instructions carefully and you will enjoy “Twelfth Night” to its fullest potential.

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