Twelfth Night by William Shakespeare
National Theatre Live (streamed April 23 to 30, 2020
Reviewed by Kate Herbert online
Stars: ****
I'm writing this in Iso-land in Australia, keeping my reviewing muscle operating while we stay in front of our computers to imbibe our theatre. It is short, fast and doesn't cover all elements or characters, but it gives the flavour of the production, I hope. KH (Melbourne, Australia)
I'm writing this in Iso-land in Australia, keeping my reviewing muscle operating while we stay in front of our computers to imbibe our theatre. It is short, fast and doesn't cover all elements or characters, but it gives the flavour of the production, I hope. KH (Melbourne, Australia)
 |
| Daniel Rigby, Tim McMullen, Imogen Doel, Tamsin Greig |
Simon
Godwin’s ebullient, vivid and lively production of Twelfth Night is a contemporary
interpretation with plenty of drunken revelry, rowdiness and tomfoolery to
counterpoint the darker or more poignant moments of introspection or vengeful
action.
A soaring, revolving staircase transforms the stage into multiple
locations (design Sutra Gilmour), including Olivia (Phobe Fox) and Orsino’s (Oliver
Chris) grand palazzi, and the dark and atmospheric shipwreck that almost drowns
Viola (Tamara Lawrance) and her twin, Sebastian (Daniel Ezra).
The performances are uneven and some of the modern readings
and cross-gender casting are more successful than others.
Tim McMullan comic foil, Daniel Rigby is a wonderfully understated, but still dotty Andrew Aguecheek, who he plays not as an obvious clown, but as a man who understands little of his surroundings.
Tim McMullan comic foil, Daniel Rigby is a wonderfully understated, but still dotty Andrew Aguecheek, who he plays not as an obvious clown, but as a man who understands little of his surroundings.
Tamsin Greig as Malvolia (a change of gender for Malvolio) is the feature of this production;
she is dour, rigid, nun-like in her grim, black gown and basin cut wig. Her
Malvolia is a priggish, puritanical, obsessional, school-mistressly battle-axe –
and desperately in love with her mistress, Olivia.
Greig has innovative and impeccable timing and delivery, with
odd and surprising pauses that bring new, comic inflections to lines. Her careful
enunciation and soundless creeping leave Malvolia ever watchful and waiting in
the wings for Ollvia’s beckoning.
Greig’s reading of Maria’s taunting letter is a very complex,
comical performance of hysterical desire, although it is, in parts, a little laboured.
Her appearance in
‘yellow stocking cross-gartered’ is a riotous piece of burlesque.
What is expressed very clearly by the end of the play, is the
vehemence of Maria’s (Niky Wardley) loathing of Malvolia and the cruelty of her
dupe which makes Malvolia
is a sad butt of a cruel joke. Malvolia’s avowed vengeance seems justified in the
face of such abuse.
Despite being a little overwrought at times, this production
is vivacious and innovative, and it is certain that a live performance - rather
than this online version - would have the audience cheering.
By Kate Herbert
 |
| twelfth_night_doon_mackichan_as_festetamsin_greig_as_malvolia_image_by_marc_brenner |
No comments:
Post a Comment