TWELFTH NIGHT. To 28 March.

London.

TWELFTH NIGHT
after William Shakespeare.

Barbican Theatre To 28 March 2009.
7pm
Runs 3hr 30 min One interval.

TICKETS: 0845 120 7511 (booking fee).
www.barbican.org.uk/bite (reduced booking fee online).
Review: Timothy Ramsden 25 March.

Grand scale and colour, and a wondrous Maria.
What’s in it for us? Shakespeare in Japanese by Shochiku Grand Kabuki, under guest-director Yukio Ninagawa, with added dialogue in Japan’s classical comedy Kabuki manner? A ship sails downstage, Viola on board. “Those black clouds appear to be coming this way,” the surtitles tell us she’s saying; the Japanese may outstrip Britain at making cars, but they can’t hold a candle when it comes to Shakespearean dialogue.

What’s added upfront is shaved from later scenes. And the quarrel between Malvolio and Feste’s reduced, Fabian taking on some of the clown’s role. Feste quotes Malvolio calling him a “barren rascal,” though he wasn’t around when Malvolio said that as the characters are played by the same actor, lolloping cheerily or waddling pompously.

Finally, Feste leaves, looking for humour elsewhere But there’s no wider sense of characters being ejected around the play’s finally happy couples; Antonio’s actually employed as a guard by Orsino.

The surtitles, distinguishing Shakespearean and ‘Kabuki’ lines, show how vital Shakespeare’s language is to his drama. Olivia can’t see both twins at once (same actor syndrome again), so her splendid “How have you made division of yourself?” becomes the looser, weaker comment, “My husband is here. And my husband is over there”.

This remains a production to see, with intricately-coloured costumes (Kabuki’s quick-change tradition ensures swift switching of hefty garb) and gorgeous sets. There’s the minute, ingrained skill, honed through generations. And while moments can jar – Toby’s repeated sniggering behind a raised hand, or Ninagawa allowing sudden acknowledgment of the stage mirrors – this comedy of gender identity is enhanced by the onnagata.

These are male actors specialising in women characters; not the boy-actors of Shakespearean times, but men who create a female lightness and delicacy. It’s there in Viola, in her anxiety talking about love against the unconcern of an Orsino who is confident women cannot love like men. He, too, sways, weakened at the thought of Olivia.

But it’s Maria who’s remarkable; moving between modesty and command, as when Toby sidles up to her for sympathy. There’s a finely self-important Sir Andrew too, but Maria is a revelation.

Viola/Sebastian: Onoe Kikunosuke V.
Olivia: Nakamura Kinnosuke II.
Sir Andrew Aguecheek: Nakamura Kanjaku V.
Orsino: Nakamura Kinnosuke II.
Maria: Ichikawa Kamejiro II.
Head Officer: Bando Kamesaburo V.
Curio: Onoe Matsuya II.
Antonio: Kawarasaki Gonjuro IV.
Valentine: Bando Shucho V.
Fabian: Ichikawa Danzo IX.
Captain: Ichikawa Dabnshiro IV.
Sir Toby Belch: Ichikawa Sadanji IV.
Malvolio/Feste: Onoe Kikugoro VII.
Ensemble: Onoe Kikuichiro, Ichikawa Danshi, Onoe Kikushiro, Onoe Kikusaburo, Onoe Tokumatsu.
Onoe Otokichi, Ichikawa Sawagoro, Ichikawa Satojiro, Yamazaki Sakujuro, Nakamura Kanno, Nakamura Kanyu, Nakamura Choichiro, Onoe Matsugoro, Onoe Otosaburo, Ichikawa Sajiro, Ichikawa Shigenosuke, Onoe Otonosuke, Ichikawa Danichiro, Onoe Otojiro, Nakamura Takecho, Nakamura Iccho, Onoe Takamatsu, Onoe Otoichiro, Ichikawa Sawaji.

Director: Yukio Ninagawa.
Designer: Yuichiro Kanai.
Lighting: Jiro Katsushibo.
Choreograspher: Seifu Onoe.
Assstatn director: Tetsuya Asaka.

2009-03-26 12:25:51