Or What You Will. Shakespeare comedy of mistaken identity, practical jokes and unrequited love. Rescued from a shipwreck the twins Viola and Sebastian arrive independently in Illyria, both thinking the other is drowned. Viola disguises herself as a boy and finds employment with the Duke who is in love with Olivia. Malvolio is the subject of a cruel joke played on him by Sir Toby Belch (yellow stockings cross-gartered) leading him to believe that Olivia loves him. But Olivia has fallen in love with the disguised Viola, while she is in love with the Duke (following it so far?!).
Derek Jacobi pulled up his yellow stockings to face the critics in Twelfth Night this week at the Wyndham's theatre, stepping into the ample shoes left by Kenneth Branagh after he wowed the reviewers in Ivanov (See Review Round-up, 18 Sep 2008).
Shakespeare's great comedy of mistaken identity and cross-dressing, Twelfth Night tells of Viola, who, shipwrecked and fearing her twin brother dead, is swept onto the shores of Illyria. Disguising herself as a boy, she takes a post in the Duke's court and, on his behalf, attempts to woo his loved one, the Lady Olivia.
Although failing to repeat the complete cross-critic consensus that greeted Ivanov, Twelfth Night still proved itself a strong second installment in the stellar Donmar season with a clutch of five-star ratings. Jacobi's Malvolio was praised for its humour and “arrogant hauteur” - described by one critic as “a blend of Beau Brummell, Lord Chesterfield, Casanova and Napoleon”. Among his co-stars, Ron Cook and Guy Henry made for a “terrific double-act” as the two 'Sirs' - Belch and Aguecheek - while Alex Waldman, Mark Bonnar and Indira Varma also drew high praise. Any gripes were mostly with the choice of setting, some critics finding the sun-drenched early 20th century design created “visual contradictions” in an otherwise “luxuriant” production.
Maxwell Cooter on Whatsonstage.com (four stars) – “Michael Grandage conjures up an almost magical Illyria, drenched in sunshine. This is a Twelfth Night as imagined by PG Wodehouse, with a glorious 30s setting, and rich on the interplay between the aristocracy and their servants. Derek Jacobi's Malvolio, dripping with unctuousness, is the epitome of servility – while at the same time dreaming of a place amongst his betters … But while Grandage brings out the comedy and the underlying conflicts of class, he is less successful in tackling the sexual ambiguity in the play. I wasn’t convinced by Victoria Hamilton’s Viola, who doesn’t seem to make the most of the confusion engendered by her transformation into Cesario … I did however like Indira Varma’s Olivia, hastily casting off her mourning demeanour in pursuit of Cesario and her delighted 'how wonderful' when seeing the twins for the first time was the cry of a woman well alive to sexual possibilities.”
Michael Billington in the Guardian (three stars) – “The glory of the production is Derek Jacobi's Malvolio. You may wonder what this wing-collared figure is doing in somewhere like pre-1914 Casablanca, but the performance triumphs over the visual contradictions. What Jacobi radiates is an arrogant hauteur that for once explains the cruel plot against him … This is a superb performance ranking with the best Malvolios. There is also a fine raging Orsino from Mark Bonnar, who for once genuinely emits 'groans that thunder love', and Zubin Varla's Feste sings his melancholic songs with plangency. But, although Christopher Oram's design of louvred screens and Neil Austin's sultry lighting ensure the stage looks beautiful, the production skates over many of the relationships. Indira Varma's Olivia may have the sinuous beauty of a Vogue model, and Victoria Hamilton's Viola may look like a sexily androgynous matador, but the former's headlong passion for the latter never exceeds the bounds of propriety.”
Nicholas de Jongh in the Evening Standard (four stars) – “Michael Grandage's triumphant advance upon the West End continues with a treasurable Twelfth Night that discovers a renewed sense of comedy in the struggles of Illyria’s would-be lovers and plotters and in Sir Derek Jacobi’s Malvolio — who is the production’s star attraction, rendered as an exquisite figure of stuffed-up pomp and circumstance ... The main romantic plot works less well. Indira Varma’s white-suited, grandly amusing Olivia sets the main-line comedy of love-relations fizzing into life. She passes from aristocratic cool to hot ardour as she vainly tries for Hamilton’s unwilling hand and heart. Bonnar’s interesting Orsino, played as if suffering from an overdose of romantic angst, enhances the comedy of frustrated desire, especially in the closing moments when he cannot distinguish Viola from Alex Waldmann’s Sebastian whose gayish association with Antonio is weirdly bowdlerized by Grandage … The false gender re-alignment does not, however, greatly diminish the appeal of Grandage’s lovely production.”
Benedict Nightingale in The Times (five stars) - “Twelfth Night is often called Shakespeare’s sunniest comedy, which is fine provided one remembers that the sun can burn and blister as well as warm. What’s impressive about Michael Grandage’s 1920s-era revival isn’t just the excellent acting, from Derek Jacobi and others, but the acknowledgement that, as romantic comedies go, the stakes are as high as the incidents are funny … Has there ever been as snootily correct, as majestically prissy a steward as Jacobi? His first word, which is a simple 'yes', becomes a drawn-out sneer and ever afterwards his Malvolio is, at least in his own fancy, a Jeeves who is also a blend of Beau Brummell, Lord Chesterfield, Casanova and Napoleon … Nor is he isolated in hilarity. Ron Cook’s sottish little Belch and Guy Henry’s dim, tapering Aguecheek make a terrific double-act, partly because they’re more unequal in size than the two Ronnies or, it sometimes seems, a pine and a thornbush.”
Charles Spencer in the Daily Telegraph (five stars) -“Rarely, very rarely, you step inside a theatre and find that you are being enveloped and enthralled by a show that comes as close to perfection as makes almost no difference. Michael Grandage's spellbinding, magnificently acted production … is one such occasion … Grandage, who so often goes infallibly to the heart of whatever play he is working on, beautifully gauges the play's mixture of laughter and pain. And designer Christopher Oram and his colleagues create a magical Illyria … The casting is of Rolls-Royce variety. One by one the actors take to the stage and you realise that you can't think of anyone better equipped to tackle whatever role they are playing. Derek Jacobi is clearly having the time of his life as Malvolio. There are touches of Jeeves in his performance, with that ineffable sense of superiority and the way he seems to glide across the stage on castors.”
Quentin Letts in the Daily Mail (three stars) - “Forgive me quibbling over a Twelfth Night starring Sir Derek Jacobi as Malvolio, particularly in a production from London's best director, Michael Grandage. But the latest bespoke classic from the Donmar Warehouse stable is just slightly off. For me, this cleft-apple Shakespeare comedy always depends on the prettiness of Viola ... Surely the frisson (for us heterosexuals, at least) is that, when dressed as a lad, Viola is still troublingly comely. Mr Grandage makes his Viola, Victoria Hamilton, wear an ugly wig and pours her into a pair of unflattering breeches … From his first word a scornful 'Yerrrs' Sir Derek shows lovely touches. The way he splits his final line ('I'll be revenged (pause) on the whole pack of you') is effortless brilliance, and he has elaborate fun pulling Malvolio's face into a twitching, nascent smile … This is a luxuriant show, richly lit in browns and oranges, but it lacks that last ounce of magic required to make it the holiday must-see.”
Director Michael Grandage conjures up an almost magical Illyria, drenched in sunshine. This is a Twelfth Night as imagined by PG Wodehouse, with a glorious 30s setting, and rich on the interplay between the aristocracy and their servants. Derek Jacobi's Malvolio, dripping with unctuousness, is the epitome of servility – while at the same time dreaming of a place amongst his betters.
The eavesdropping scene is played to perfection, the three plotters (Fabian has been dropped from the play) being forced to stuff their handkerchiefs in their mouths from laughter as Malvolio is drawn into their trap and the last image before audiences troop off to the interval is seeing Jacobi trying to wrest a smile from his lips, a struggle for a man after a lifetime of seriousness.
The class aspect is extremely well-played, with all characters fully aware of their positions in society – positions that become considerably disrupted in the course of the play.
“Art any more than a steward?” sneers Sir Toby, finding it hard to keep the contempt from his voice. Ron Cook's Toby is less the drunken sot than is usual and presents himself as a man acutely aware of his place in society and the privilege of being Olivia’s uncle. If he underplays the comedy slightly, this is more than made up by Guy Henry's Andrew Aguecheek, a gawky, slack-jawed streak of idiocy, an Illyrian cousin to Bertie Wooster, who provides most of the best comic moments.
But while Grandage brings out the comedy and the underlying conflicts of class, he is less successful in tackling the sexual ambiguity in the play. I wasn’t convinced by Victoria Hamilton’s Viola, who doesn’t seem to make the most of the confusion engendered by her transformation into Cesario.
And I was also left confused by Mark Bonnar's Orsino, one minute, unkempt and half-dressed bewailing his love for Olivia, the next dancing with his male entourage – leaving one wondering why exactly he wants to woo Olivia. There is however a great moment in the final scene when he mistakes Sebastian for Viola one last time. In contrast to the Orsino court, the homoerotic relationship between Antonio and Sebastian seems rather under-played, leaving us rather unsure exactly why Antonio puts himself in such peril.
I did however like Indira Varma’s Olivia, hastily casting off her mourning demeanour in pursuit of Cesario and her delighted “how wonderful” when seeing the twins for the first time was the cry of a woman well alive to sexual possibilities.
Perhaps most joyous of all, this is a very funny production. The sun-drenched Adriatic might not sound like an ideal setting for a Christmas play but this is festive fun and should prove a huge hit.
Reading the reviews here it seems to me that Manos, the first reviewer, echos my feelings entirely and he'd made allowances for seeing an early preview, whereas I saw it over four weeks later which ought to have given the cast plenty of time to run in? Jacobi is a stylish actor but lacks the comedic gifts required to play Malvolio The production lacked zest, it plodded along. Guy Henry as Sir Andrew, a talented actor who does have a gift for comedy, seemed to be holding back, was this because he may have over shadowed Jacobi's performance? Most probable. The somewhat muted reaction at the curtain call spoke volumes. All in all a big disappointment. - rds
11 Jan 09
I can't fault this production. It's simple, elegant, beautifully acted, well spoken and refreshingly free of gimmicks. Yet somehow I didn't leave the theatre entirely satisfied as in the end it's another Twelfth Night; it does nothing other productions of the play haven't done already. As much as I admire Mr Grandage, are we in danger of being rather over reverential? As with Ivanov, the audience in this Donmar West End season is still the least diverse - those hated star vehicles are doing a lot more for accessibility and diversity that this, I'm afraid. - Gareth James
08 Jan 09
I agree that one of the main things to be said abvout this production, which was good with hardly any weak links, and certainly as good as say work being done by the RSC, is my thought that the West End really needs to keep Donmar West End season as a permanent fixture or find other theatres willing to do this, how about a Peter Hall season, hopefully the Haymarket will have a success this year. As it seems to me the best way of keep serious drama in the West End. - CAA
05 Jan 09
The Donmar's domination of the West End continues with this near-perfect production of Twelfth Night. The play itself may borrow heavily from The Comedy of Errors, Much Ado and As You Like It but Michael Grandage directs with a keen eye for the layers of comedy, assisted by a brilliant cast, although like others I was not compltely convinced by Victoria Hamilton as Viola, particularly as I remember Helen McCrory's brilliant Rosalind at this theatre. Grandage's genius lies in finding the heart of every character, no matter their importance. So whilst Derek Jacobi is a wonderful Malvolio - Jeeves with a touch of Frankie Howerd -there are exceptional moments everywhere, none better than Olivia's lascivious yelp of delight when she thinks Sebastian has a twin brother. Samantha Spiro reminded me of a younger Zoe Wannamaker and Guy Henry's superb Aguecheek was remarkably like Ian Waite from Strictly (but less camp). I also liked the Argentine tango at the start which suggests I need to get out more on Saturday nights. If the Donmar West End season continues at this high standard everyone must be persuaded for it to become a permanent fixture rather than a one-year experiment. - David Baxter
17 Dec 08
Took a while to get going for me but once it did there were both fine performances and some funny moments. A piece of fine ensemble acting and great to see it in the West End. - Paul Wallis
14 Dec 08
Saw on first day of previews as well. Agree with main review, especially re Viola not being that convincing as Cesario and Orsino being rather odd. But Jacobi, Henry, Cook all excellent and Varma was a fun Olivia. I'm sure it will improve - and I rather liked the last production I saw (at Bradford, with Matthew Kelly as Malvolio) more - but this is one of the best I've seen and I wasn't disappointed. - LouiseC
12 Dec 08
First of all in order to be fair, i must say that i saw this in the first day of previews, so it will definately be improved as time goes by. Overall i wasn't impressed with the direction or the cast. 'Twelfth Night' is my favourite Shakespeare comedy and the Sam Mendes production was one of the best i have ever seen. The Wyndham however had no purpose and the director no new ideas or inspiration. The cast was trying, but still Jacobi even though good was not enough to save this. Waldmann was very good, Ron Cook good, Hamilton OK, Bonnar had his moments, while Varma,Guy Henry and Varla failed to impress. I would probably give this 2 stars, but since it will no doubt be improved, i give it 3. - Manos
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