May 17, 2007
This production eclipses any other Twelfth Night I have seen. I was constantly aware it was an all-male production, with its overtones of historical accuracy juxtaposed with modern gender politics. Humour was wrung from Viola's "I am not what I am" and the love scenes without sacrificing the characters' integrity and credibility. It is difficult to imagine the men as women without being very camp but in fact the portrayals are very much character-driven. Maria flirts and struts, Viola is ambiguous and Olivia imposing, and all act and react to their situtations. All of which is just as it should be!
The balance of power is altered in this production, and different characters are brought to the fore. Feste (Tony Bell) and his violin seem central to every scene, at home in both Olivia and Orsino's houses. His sardonic humour seems ever present while his haunting melodies contrast sharply with the rough and tumble of the the errant Knights. The tall and imposing Olivia (Dugald Bruce-Lockhart) seems much more powerful than Orsino (Jack Tarlton), which is fitting since it is she who gets her way in the end, while he seems foppish with his flowery language and lovesickness. I've always thought of Viola as a courageous woman pursuing her own course, but here she seems rather wimpish. How much of this is due to interpretation and how much to gender is hard to say.
Toby Belch (Jason Baughan) and Andrew Aguecheek (Simon Scardifield) inject a note of colour (quite literally) into the proceedings. Their slapstick humour is extremely bawdy and frequently tasteless. At times historical accuracy to the text is sacrificed (the duel becomes a boxing match) but perhaps this is more accurate in its effect: there seems to be a trend to recognise Shakespeare as the Chaucer of his day as well as appreciating his beautiful poetry and psychological insight. Theory aside this production is certainly very funny and drew appreciative guffaws as well as the odd wince from the audience!
The set is minimal, first shrouded and later full of mirrors. It is mostly grey, while the costumes are mainly black (with a few notable exceptions!). In many scenes extra characters watch the proceedings from on high, sometimes catching or providing props. My companion objected to this as unnecessary complication, while I liked the feeling of busy-ness. I suspect it is representative of the idea of some people being in the know facts others do not in the play. But that may be reading too much into it!
Malvolio is a triumph. Bob Barrett plays him with great pomposity but also great dignity, so that the mockery seems particularly cruel and uncomfortable. In the first half of the play he is unsufferable, and the sight of him attempting to "thrust greatness" upon Olivia sticks firmly in my mind! At the end he swears revenge with real menace, giving an unfinished and sour note in the otherwise happy ending.
Director Edward Hall doesn't like the term "accessible" for its implication of dumbing down. But the production he has created is accessible in the best sense. The interpretation is fresh and exciting, and surprises the audience. More importantly it presents Twelfth Night not just as a frivolous comedy but also a serious and substantial play.
The balance of power is altered in this production, and different characters are brought to the fore. Feste (Tony Bell) and his violin seem central to every scene, at home in both Olivia and Orsino's houses. His sardonic humour seems ever present while his haunting melodies contrast sharply with the rough and tumble of the the errant Knights. The tall and imposing Olivia (Dugald Bruce-Lockhart) seems much more powerful than Orsino (Jack Tarlton), which is fitting since it is she who gets her way in the end, while he seems foppish with his flowery language and lovesickness. I've always thought of Viola as a courageous woman pursuing her own course, but here she seems rather wimpish. How much of this is due to interpretation and how much to gender is hard to say.
Toby Belch (Jason Baughan) and Andrew Aguecheek (Simon Scardifield) inject a note of colour (quite literally) into the proceedings. Their slapstick humour is extremely bawdy and frequently tasteless. At times historical accuracy to the text is sacrificed (the duel becomes a boxing match) but perhaps this is more accurate in its effect: there seems to be a trend to recognise Shakespeare as the Chaucer of his day as well as appreciating his beautiful poetry and psychological insight. Theory aside this production is certainly very funny and drew appreciative guffaws as well as the odd wince from the audience!
The set is minimal, first shrouded and later full of mirrors. It is mostly grey, while the costumes are mainly black (with a few notable exceptions!). In many scenes extra characters watch the proceedings from on high, sometimes catching or providing props. My companion objected to this as unnecessary complication, while I liked the feeling of busy-ness. I suspect it is representative of the idea of some people being in the know facts others do not in the play. But that may be reading too much into it!
Malvolio is a triumph. Bob Barrett plays him with great pomposity but also great dignity, so that the mockery seems particularly cruel and uncomfortable. In the first half of the play he is unsufferable, and the sight of him attempting to "thrust greatness" upon Olivia sticks firmly in my mind! At the end he swears revenge with real menace, giving an unfinished and sour note in the otherwise happy ending.
Director Edward Hall doesn't like the term "accessible" for its implication of dumbing down. But the production he has created is accessible in the best sense. The interpretation is fresh and exciting, and surprises the audience. More importantly it presents Twelfth Night not just as a frivolous comedy but also a serious and substantial play.