This adaptation of Twelfth Night is centered around queer and feminist themes. Set in the Roaring 20's, this production focuses on the time period's new era of womanhood and feminism. The audience was made to feel like speakeasy attendees in this interactive production, with a live band playing original jazz music by Scotty Atienza. What began as an independent project transformed into a multidisciplinary production, involving students from across the Boston Conservatory and Berklee College of Music in performance, creative, musical, and production roles. A goal of mine when making theatre is to shape outdated narratives into stories that can guide, teach, and represent the communities they are created for. In doing this, audience members can see themselves represented in ways they never thought possible, and learn from stories they've never been told. MALVOLIA'S HAPPY ENDING A gender-bent Malvolia shows the audience the story of a woman being shunned for her feelings of love for another woman. In the end of this adaptation, the fiddler in the band stands and asks for Malvolia's hand, confessing she's witnessed the abuse Malvolia's faced and knows she deserves better. This new ending for Malvolia leans into a cheesy fairy tale ending, but oftentimes queer characters don't get to experience a happily ever after. VIOLA'S NEW FUTURE In the original text of Twelfth Night, Viola marries Duke Orsino, after five acts of him disparaging and belittling women. I made the choice to change Viola's final decisions. In this adaptation, Viola rejects his marriage proposal, while still embracing Olivia's offer of sisterhood. This change keeps the power Viola's built with her.