Picture: Lou Morris Photography
Twelfth Night continues at the Rose Playhouse, London until 5 May 2019.
Star rating: four stars ★ ★ ★ ★ ✩
A delightful concoction of a freely adapted Twelfth Night with contemporary songs, the archaeological site that is the Rose Playhouse is a venue new to this writer. The viewing platform that looks over the foundations of the 16th century Rose Theatre that pre-dated Shakespeare’s Globe has been simply transformed into a comfortable playing space, replete with blankets for those that might need them.
As a setting for this Twelfth Night set on-board a 1920s cruise liner, it works well, with the simple additions of a piano and costuming to transport us to the era of the jazz age and hedonistic wealthy. The barrier of the platform works as the ship’s deck rail very effectively. I did fear they might topple off in the drunken revelry! Set is by Simon Nicholas and costumes by Kate Unwin.
Twelfth Night with its plot involving a girl dressed as a boy wooing a woman on behalf of her rescuer Captain Orsino who strangely finds himself attracted to this boy/girl is given further resonance in this production by Malvolio being Malvolia, and Toby Belch being Lady Toby Belch, and a female Feste.
The director’s programme notes detail his motivation for this adaptation and its 1920s setting, the greater freedom women were experiencing in dress and behaviour afforded by the loosening up of the 1920s, and the sexual freedom that went with it, at least in bohemian circles.
Opening not with the well-known ‘If Music be the Food of Love’ speech for Orsino, but a song and dance routine for Viola and Sebastian, with a solitary tap dancer looking on (Elena Ollett), they are soon shipwrecked, not on the Island of Illyria, but on the SS Illyria, which has rescued them, separately and unbeknown to each other.
Adding to the fun is Olivia, a famous actress (Emma Watson), Maria her maid, now her stylist, and Fabian, her driver minder. This writer’s last acquaintance with Twelfth Night was as a 14-year-old schoolboy, but one soon gets the hang of the goings on.
The contemporary songs are an added enjoyment. Lucy Crick as Viola and Hannah Francis-Baker as Feste sing superbly in this multi-talented cast who play a bevy of instruments between them. The simple moment when Orsino (Will Forester) picks out a melody on the piano and is joined by Viola to turn it into a duet exudes sexual frisson. Musical director Tom Cagnoni keeps them all together whether at the piano or strumming strings.
It’s a true ensemble piece, but one must single out Faith Turner as Malvolia. Her rigid disapproval of the indulgent behaviour of Olivia’s entourage gives way to her tragically comic attempts to woo her employer in yellow stockings, and her descent into confusion and despair is compelling.
OVO is a St Alban’s theatre company which tours extensively, and this Twelfth Night is the company’s first London transfer. Director Adam Nichols’ aim of “providing universally accessible and enjoyable entertainment for more casual theatregoers whilst satisfying Shakespeare aficionados” is well achieved in this adaptation. Catch it while you can.
Leon Ferguson
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