TWELFTH NIGHT. To 30 July.
London.
TWELFTH NIGHT
by William Shakespeare.
Open Air Theatre Regent’s Park In rep to 30 July 2008.
14, 16-18, 26-28 30 June-2, 10-12, 14-16, 24-26, 28-30 July 8pm.
14, 18, 26, 28 June, 2, 10, 12, 24, 26 July 2.30pm.
BSL Signed 2 July 2.30pm & 8pm.
Runs 2hr 50min One interval.
TICKETS: 0844 826 4242.
www.openairtheatre.org
Review: Timothy Ramsden 13 July.
Reduced laughter Shakespeare comedy till near the end, but with a focus on character.
After Shakespeare’s lightest tragedy opened in Regent’s Park on a balmy night, his dark-edged comedy was accompanied by weather which might not have had wind and rain, but saw people muffled in coats and scarves. Edward Dick’s production uneasily mixes Twelfth Night’s coldness with forthright comedy, while following Artistic Director Timothy Sheader’s Romeo and Juliet in emphasising visuals and strong musical underpinning.
Whether the weather meant laugh-buds took time to thaw, the loudest mirth came late, rather than from early joking among Olivia’s household or Malvolio’s letter-reading garden scene (there’s a neat device as he returns, the eavesdroppers immediately taking up gardening activities).
Illyria is islanded in a bright young things’ 1920s. Smoke billowing at Viola’s shipwreck implies cannon sunk her ship, while Feste’s footage of trench warfare suggests his absence may have had a military cause. Such implications create a darkness behind the parties, the nightclub crooning and an Orsino provoked by desire into an aggression that’s starting to sour his court.
Natalie Drew’s Viola brings new urgency to this society. Slight overemphasis in speech sometimes hinders a sharp portrayal, her male guise leading to unwelcome kisses and a repeated need to arch her body away from others’ attentions. The awkwardness of misplaced desire’s summarised when Orsino kneels before the wrong twin, covering his mistake in an embarrassed display of laddish gestures.
Tim Woodward plays Sir Toby more in anger than sottishness, a man of action beached in this playing world. Clive Hayward’s Sir Andrew is a richly-detailed example of a foolish man protected from self-realisation by his wealth.
Janie Dee’s Olivia doesn’t reconcile her comically exaggerated vampish gestures with her portrayal of someone disturbed by bereavement then supercharged by love. There’s strength in Clive Rowe’s crazy-haired Feste, combining comic style with a sustained tenor that gives every song an emotional hinterland. As he finally lets rip furiously at Malvolio, hurt professional pride at the Steward’s earlier sneers is extremely clear.
Claire Benedict gives Maria a smiling intelligence as she comes out of the shell of servitude. Andy Cryer’s Fabian is unusually prominent. The servants here certainly have class.
Viola: Natalie Drew.
Sea Captain/2nd Officer: Marcello Walton.
Orsino: Oscar Pearce.
Curio: Ben Ingles.
Valentine: Leon Williams.
Musician/1st Officer: Harry Myers.
Sir Toby Belch: Tim Woodward.
Maria: Claire Benedict.
Sir Andrew Aguecheek: Clive Hayward.
Feste: Clive Rowe.
Olivia: Janie Dee.
Malvolio: Richard O’Callaghan.
Fabian: Andy Cryer.
Olivia’s Gentlewomen: Jennifer Bryden, Annalisa Rossi.
Antonio: Richard Cotton.
Sebastian: Neet Mohan.
Priest: David Whitworth.
Director: Edward Dick.
Designer: Robert Innes Hopkins.
Lighting: Simon Mills.
Sound: Fergus O’Hare.
Composer: Dominic Muldowney.
Movement: Jane Gibson.
Costume: Fontini Dimou.
Voice coach: Carol Fairlamb.
Fight director: Terry King.
Assistant director: Paul Foster.
Associate designer: Rachael Canning.
2008-06-16 02:05:39