TWELFTH NIGHT. To 30 October.

Tour

TWELFTH NIGHT
by William Shakespeare

English Touring Theatre Tour to 30 October 2004
Runs 2hr 45min One interval
Review: Timothy Ramsden 16 September at Oxford Playhouse

Quiet and elegant, this production has its own integrity.There's a quiet formality to Stephen Unwin's production, aided by the closed/open contrast in designer Becs Andrews' bare setting. A platform backed by neutral walls, with a curtain filling most of the rear wall', hints at an Elizabethan stage, its red warmth (intensified by Bruno Poet's lighting) evoking autumnal domestic intimacy. Raised, this curtain reveals a brisk seascape, elemental, either blue-skied or lowering according to time and weather.

This interchange of the secure and exposed goes with a melancholy drawing on the play's songs. Come Away Death', the transitory pleasures of O Mistress Mine', even the catches have a sadness reflecting the title's implication of cold reality returning after holiday mood.

The play ends with as many people discomposed as happy ever after. Sir Toby weds Maria almost out of obligation, the groom still sporting a head wound; the boastfully consanguineous' Toby marrying a servant, despite having made fun of Malvolio for daring to hope for such a cross-class wedding. Sir Andrew ends hapless and the play closes with the lone Feste singing his wind- and rain-swept autobiography.

Such things come to mind in this account, especially with Alan Williams' philosophical Fool. Drably clad, standing upright and still, his words come slowly, almost ruefully, any joke having a self-mockery for seeing the world in comic light. Comic business gets short shrift generally.

Michael Cronin's Toby slants across his chair like an easeful Falstaff, his throaty tones opposing Des McAleer's straight-backed, head-up vocal precision. Never could these two see eye to eye, Malvolio's purposiveness contrasting Toby's resignation, which sees sadness at the bottom of the jug. The only problem with Cronin's portrayal is an occasional touch of indistinctness among the rich tones.

It's a production with many accomplished performances, Geoffrey Beevers' Andrew naively expressing every feeling, beaming optimism or wrinkled worry - more touches of sweet sadness. Susan Brown's expert Maria is only limited by the production's dampener on humour. Newcomer Georgina Rich's Viola brings a fine contrast, invigorating Illyria with youthful resourcefulness under trial. An unusually strong Fabian from Robert Lister stands for further strong acting in a sombre, thoughtful production.

Orsino: Dugald Bruce-Lockhart
Curio: Geoffrey Lumb
Valentine: Edmund Kingsley
Viola: Georgina Rich
Toby Belch: Michael Cronin
Maria: Susan Brown
Andrew Aguecheek: Geoffrey Beevers
Feste: Alan Williams
Olivia: Catherine Walker
Malvolio: Des McAleer
Antonio: Patrick Drury
Sebastian: Gareth David-Lloyd
Fabian: Robert Lister

Director: Stephen Unwin
Designer: Becs Andrews
Lighting: Bruno Poet
Music: Olly Fox
Costume: Mark Bouman
Fight director: Terry King
Assistant director: Bijan Sheibani
Associate lighting designer: Emma Chapman
Assistant costume designer: Mia Flodquist

2004-09-20 01:46:23