Sunday, 4 June 1995

Twelfth Night, Bell Shakespeare, 4 June 1995

 

 by William Shakespeare.

By Bell Shakespeare Company

At Athenaeum Theatre until May 27, 1995

Reviewed by Kate Herbert around 4 June 1995 for The Melbourne Times

 

In addition to wanton revelries, melancholy is undoubtedly a component of Twelfth Night It dominates David Fenton's production for Bell Shakespeare. The dark brooding of the grief-stricken Olivia (Jennifer Kent) spills over in large splashes into Feste, the jester (Darren Gilshenan) whose "Hey Ho, the wind and the rain" and final song are profoundly bleak.

 

There is little of the usual revelry of Twelfth Night carnival celebrations. Even Andrew Aguecheek (Sean O'Shea) and Sir Toby Belch (Vic Rooney) are somewhat restrained in their witty repartee and Belch almost victimises his compadre in drunkenness. O'Shea plays an hilariously goofy Sir Andrew and the two gambol about playfully but there is an over-weaning sadness in them which is moving but not wholly successful.

 

Darren Gilshenan as Feste is an intense, intelligent, taunting fool who watches the whole debacle with a modern cynical eye. With his red lame' vest and languidly sexy style, he is a Johnny Lonely cabaret singer with a bitter wisdom.

 

John Bell plays the smug, dull civil-servant-ish Malvolio in an inspired piece of campery. His performance is, as ever, the most complete and satisfying. Lucy Bell is vivacious and energetic as Viola and as her twin, Jeremy Sims was a terrific cameo.

 

The backdrop of an outsize face of Botticelli's Venus is an interesting representation of love and idealism. The second darker version symbolises the degradation of romanticism but is somehow more intrusive than effective.

 

There is some problem with the coherence of the whole of the production. There being no overall vision or concept.  The modernisation is fine but it lacks clarity or overview. The characters work as individuals and particular performances work as cameos but they seem to all be in isolation.  It is valiant effort to alter the dynamic of a usually light play, but unfortunately there is little sense of ensemble work.

 

KATE HERBERT

 

305 wd

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