TWELFTH NIGHT To 5 September.
Oxford.
TWELFTH NIGHT
by William Shakespeare.
Creation Theatre Company at Said Business School Theatre Park End Street OX1 1HP To 5 September 2009.
Mon-Sat 7.30pm (to 15 Aug), 7pm (from 17 Aug) Mat 8, 15 Aug 2.30pm, 29 Aug 7pm no performance 24 Aug.
Runs 2hr 30min One interval.
TICKETS: 01865 766266.
www.creationtheatre.co.uk
Review: Timothy Ramsden 4 August.
Precautions against the rain raining almost every day in the British summer – and a production worth seeing.
Cunning Creation; after two poor-weather summers hit their open-air performances, they’ve retrenched - one show instead of last summer’s four - and relocated to Oxford University’s Said Business School whose roof-top amphitheatre can be vacated in case of rain for the Nelson Mandela (lecture) Theatre downstairs.
Sensible in a play which ends by emphasising “the rain it raineth every day;” on the damp night I attended the Nelson Mandela was used, its narrow stage contrasting the rooftop amphitheatre.
The eight-strong cast seem like resting actors – lying on the floor, bounding up at the prospect of a play towards. There’s competition for parts (apart from the role of Sir Andrew – some clearly know this play) and throughout some brief roles are read from linen-printed scripts.
Director Heather Davies eventually takes this on-the-spot element a bit too far, but she provides an energetic, inventive production with many sure touches. At the end, as characters again collapse slowly to the floor, Viola and her brother Sebastian alone stay standing. And Emily Pennant-Rea’s Viola (one of three particular reasons for seeing this production) is flooded with joyous relief when, after a downcast, head-in-hands moment (neatly delaying her realisation he’s there) she realises her brother’s still alive.
She’s a resilient Viola, facing Olivia squarely; indeed, it’s Olivia (Melanie MacHugh, second particular reason) whose will is weakened by affection for Cesario. She’s also a deep-feeling person. Her distress at her brother’s death turns to laughter at Feste’s joke about his soul being in heaven, but you felt it might not have.
In this Illyria Antony Jardine’s clown has to work for his laughs, which is perhaps why his final reminder to Malvolio of the Steward’s words about having seen Feste outsmarted are cut – they’re too near the truth. Andrew Macbean’s Malvolio probably suffered most by the indoor transition, which limited his opportunities for posturing and expostulation, but it remained a good performance.
And Stephen Carlile (third particular) doubles a forceful Orsino with a credibly naïve Sir Andrew. A merry Andrew, in a well-considered production that ends with the actors again resting, awaiting their next dramatic infusion.
Sebastian/Curio/2nd Officer/Servant: Jonny Bower.
Orsino/Aguecheek: Stephen Carlile.
Sir Toby Belch/Captain: Nick Earnshaw.
Maria/Priest/1st Officer: Janet Greaves.
Feste/Fabian: Antony Jardine.
Malvolio/Antonio: Andrew Macbean.
Olivia/Valentine: Melanie MacHugh.
Viola: Emily Pennant-Rea.
Director: Heather Davies.
Designer: Tomasin Cuthbert.
Lighting: Howard Hudson.
Sound: Adam McCready.
Music Co-ordinator: John Edwards.
Movement: Aidan Treays.
Voice/Verse coach: Richard Ryder.
Fight director: Phillip D’Orleans.
Assistant designer: Naela Rose.
2009-08-06 16:32:10