Reader Reviews
Twelfth Night (Novello Theatre (formerly the Strand), West End)
Back to Show Details| Score | Comment | Date |
 | When Twelfth Night was written, that occasion marked the end of a winter festival beginning on All Hallows Eve. During Twelfth Night festivities the normal order of things was reversed and nothing was quite what it seemed. The play is usually classed as a "straight" (rather than farcical) comedy, but its world is a topsy-turvy one, ideally suited to the type of entertainment for which it was intended but not often brought out in performance, since it is usually given a specific temporal and locational context (even, on one RSC occasion, Shakespeare's own Stratford). But Michael Boyd's wonderful version (itself for the RSC and seen at Stratford) truly reflects the play's origins, revealing (and revelling in) all the illusions and delusions affecting its principal characters, and setting the whole in an unusually sophisticated (but still suitably topsy-turvy) context which works superbly. No attempt is made to create a realistic Illyria. The action happens in designer Tom Piper's version of a "wooden O", a circular stage bounded by a semi-circular wall containing several doorways and decorated with a large pair of (female) eyes. On stage initially are the music stands and instruments of Orsino's orchestra, but after the opening scene these are raised up on ropes to hang from the flies for the rest of the performance. And the score itself is jazz-like, and the costumes modern; a setting light years away from the play's original production, but one which illustrates Shakespeare's magnificent timelessness. Here we encounter an Orsino (Barnaby Kay) who seems to worship Olivia from afar but whose sexual proclivities are uncertain, given his reaction to Kananu Kirimi's far from shrinking Viola, whose own enthusiasm for her male disguise is more commonly encountered in Rosalind. Olivia (Aislin McGuckin) wears severe black, which initially seems to reflect her actual character as well as her state of mourning, but her true nature is revealed by her enthusiastic reaction to "Cesario", and her acceptance of Sebastian in "his" stead. Even Richard Cordery's wonderful Malvolio has hidden depths, being a martial arts enthusiast and a biker in his spare time! And it is Malvolio, and the other inhabitants of the subplot, who most engage our emotions here, for a happy ending for the main plot characters is never in doubt. But Malvolio's punishment, played out not in a dark dungeon but in the full glare of the stage lights, is a cruel one, whilst John Mackay's Sir Andrew Aguecheek, who is apparently a frustrated ballet-dancer, is devastated as well as disillusioned when his "friend" Sir Toby's rejects him. And most moving of all is the fate of Forbes Masson's superb Feste, who is at one point kissed passionately by Meg Fraser's Maria but whom she ultimately abandons for Sir Toby. It is entirely appropriate, therefore, that it is Feste who sings (quite beautifully, for Forbes Masson has a fine voice) the play's sad, haunting, final song as "rain" - reams of sheet music from the stands above - flutters down from the flies. - 194.75.129.200) | 07 Nov 05 |
| Saw this last week, it was my first Shakespeare play and I enjoyed it a lot more than I thought I would, having been bored by Shakespeare in English lessons! It was hilariously funny and the acting was excellent - 212.139.37.191) | 13 Sep 05 |
| Really very poor. Viola, Feste, and Aguecheek are - no holds barred - abysmal. I wonder whether Boyd has ever thought about this play - from his frothy, patronising and largely irrelevant production, one only feels that the mystery of Twelfth Night has not been even slightly uncovered. Rubbish - don't waste your money. - 62.254.64.17) | 09 Aug 05 |
| I found this dissapointing. Not even the usually excellent Richard Cordery could induce much needed charm into this. Forbes Masson' performance is very strong and more enjoyable than most Festes - for me usually Feste ruins thic play - here he saves it. The only other memorable performance for me was Meg Fraser's Maria who at least added some innovative touches. One "star" for Forbes Masson, one for Meg Fraser and one for the collective bravery of the cast wandering around beneath some very heavy objects and for the entrance of Viola from the flies. - 62.253.64.18) | 17 Jun 05 |
| At curtain-up I was startled by the dreadful squawking from some woman but then enchanted by Feste (Forbes Masson). This Twelfth Night had lovely moments and then not. Sebastian was physically too insignificant for the wonderful Olivia but presumably had to be matched to the Viola. I've seen the Viola actress a number of times as Ariel and others and always felt she's pleasant but underpowered. Here it is a problem as she smiles her way through the green and yellow melancholy. No depth of feeling at all. Still worth the visit for Feste - 193.118.206.221) | 17 May 05 |
