...but when in other Habits you are seen, Orsino's Mistress, and his Fancy's Queen.
Duke Orsino - "Twelfth Night"
Twelfth Night
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Original Practices Production, exploring clothing, music & settings possible in 1602.
I must confess I didn’t particularly like the play when I read it for Summer School. Though it’s still not one of my favourites, I was mesmerized by the
fabulous cast and their performance. Being an original practices production, the women’s parts were played by men.
The first glimpse on coming into the theatre was of the actors in the tiring house, getting into costume. I had a particularly good view of Mark Rylance
(Olivia) putting on white make up (face & hands!) - only he, Maria and Sir Andrew had that ‘pale’ look though. It was here that I saw that the wigs are
helmet-like, with something that looks a like string coiled on top for hair.
The set and props were wonderfully done. Shrubs and benches for the garden scene - including a rounded structure hung with green for Fabian, Sir
Andrew and Sir Toby to crouch in while Malvolio read his letter - one cramped space! Then of course there was the large wooden table - and the
banquet, real food ;D. Also, the common ‘manly stance’ was a firm stand, with one arm bend, hand on hip. It’s Elizabethan style, I suppose. Fascinating.
Viola came on trough the trapdoor, helped out by the Sea Captain. The music was nice, complimenting the piece and the musicians were very good.
Loved the trumpeters in the tower ;D. All dressed in Elizabethan fashion, of course. The obligatory jig at the end sure was spirited - looked so funny
to see Mark Rylance hop about in that black dress *laughs* Just brilliant!
I must admit I don’t remember each and every scene in detail, so I will say a few words about each of the actors and detail their portrayals as well as I can.
Mark Rylance’s Olivia was hysterical - in more than one sense of the word. He got a great many laughs and I think he actually forced them a bit,
playing to the audience, rather than with his fellow cast members at times. He gave me the impression of a chicken running around and flapping its
wings. As an interpretation, Olivia came across well-rounded and flawless, though I couldn’t help but think he was ridiculing the character.
I had seen her as spoilt and wilful - shrieking and panic attacks weren’t quite what I associated with her though. The diligence with which she worked
on her books (which I had thought more in line with the lady’s sombre temperament) was more like a passing thought in this production. Yet Mr Rylance
was amusing and the stylish faint he did in front of a thoroughly confused Sebastian was hilarious. I had actually hoped the latter would carry Olivia off
the stage, but she revived… ;D
Paul Chahidi as Maria was brilliant, a real showstopper. Excellent fun, very bustling and cheerful, yet with a certain heaviness that was becoming the
quiet seriousness he exhibited at times. It was especially in his interaction with Sir Toby that this touch came out, just like that impish grin - absolutely perfect!
Antonio was one of the few characters in this piece that I actually liked when reading it, and Colin Hurley did a grand job. He was calm and grave and
though he wasn’t seen much, he had a firm presence on stage. He is, to me, quite a tragic character. And I love him ;D.
Sir Andrew (Albie Woodington), Fabian (Jan Knightley) and Sir Toby (Bill Stewart) were all hilarious, their little quirks and the delivery of their
comic lines were all superbly timed, a treat. *claps*
As for Malvolio - a more than pleasant surprise; Timothy Walker managed to convey the air of the man brilliantly. He was convincing in his
affectation, raving, and despair. And there was so much pathos to his interpretation I actually came to feel for Malvolio, which I’ve never
been able to do before.
Mr Walker also did a grand job of including the audience. When he had received his letter and was ‘praising Jove’(Act II, scene 5), his
gaze fell on a white-headed man in the audience. He kneeled down at the front of the stage with a small smile - not the usual Malvolio sneer -
playing around the corners of his mouth as he raised his brows slightly and bowed his head deferentially.
And to say Mr Walker made the words his own isn’t enough - he just was the character. Exquisite!
Liam Brennan did a fantastic job as Count Orsino, lovely accent too ;D. He was convincing in his role (though I don’t like the character any
better now than I did before), strong, proud and sometimes harsh, despairing and petulant. His interaction with Cesario/Viola was especially
compelling, they gave me the pleasure of seeing what true romance is. ;D (for more on this, see below)
Feste, aka Peter Hamilton Dyer, was great - I loved his singing, it had the same quiet intensity that underlaid each of his speeches. His
singing voice didn’t sound cultured, but it was all the nicer for it, very fitting for the character - a little rough at the edges. I thought he
expressed the intelligence of the clown more than the jester in him, which was wonderful.
Rhys Meredith’s Sebastian wasn’t my thing. He was funny though. When shocked, he would stand stock still and stare about wide-eyed
and open-mouthed. He delivered his lines nicely, yet I missed a bit of a spark in his performance.
Having saved the best for last, here’s to the star: Viola/Cesario aka Michael Brown.
I must confess to have been drawn in by his performance in a way I had not thought possible. He was brilliant - perfection in each
and every gesture, stunningly thought out and detailed. I loved the minute intricacies of his portrayal - like fiddling with the buttons
of his jacket when nervous, casting his eyes down bashfully, stammering slightly…
Mr Brown’s interpretation moved me, he was the image of what Viola can be - should be - full of quiet strength, carefully banked
emotion and grace. He was enthralling at all times and especially amazing in the romantic moments with Orsino - you could practically see
him blushing, he conveyed the “maiden bashfulness” so well. Wow. When Olivia kissed Cesario full on the lips, he gaped, the picture of
amazed embarrassment. Did I say he was fabulous? ;D
While we’re talking about the cream: here are the two scenes (both from Act II, Scene 4) that I considered to be magically romantic -
fantastically staged and marvellously acted.
First there was Orsino giving love advice to Cesario, a lovely exchange with superb tension between the two leads. Then Feste
began singing “Come away, come away Death…” and Cesario sat down with his back to the audience on a bench.
Orsino walked round at first, then sat facing the groundlings; seeing his young friend affected by the song, he tried to comfort
him with a pat to his arm. Since this didn’t do much, he patted Cesario’s hand, then, looking into his eyes, took it in his own,
stroking it, then regarding it as if contemplating something.
Meanwhile, Cesario’s breathing was slowly quickening - almost imperceptibly so in fact - and he gave the perfect impression
of blushing, breaking eye contact with Orsino, only to look at him again, almost skittish; finally he jumped up, pulling his hand
away (which was shaking!) and stood off a little uncertainly at the side, his face pained and confused.
Orsino then abruptly broke off Feste’s singing. The clown was definitely intrigued by the exchange he’d just witnessed, looking
from one to the other and not quite wanting to leave them alone. Which he had to do in the end. Marking the beginning of the
most bittersweet and enchanting love scene I’ve ever seen performed (that includes two versions of ‘Romeo & Juliet’!)
Petulant Orsino whined again about his love for Olivia when Cesario spoke up. And truly, that was the best speech I’ve heard in
this play (and in a few others for quite some time). Mr Brown was so emotional, yet so calm, seemingly wanting to move, to scream,
throw himself in Orsino’s arms, but not daring to. His words were warm, halting and intense in a way that shushed and mesmerized the audience.
I think it was on “And what’s her history?” that the Duke patted the space beside him on the bench (having sat down in the place
Cesario had vacated not so long ago as he took in what his young friend had to say).
Cesario sat down and, after having confessed to being “…all the Daughters of my Father’s House, and all the Brothers too: and yet I
know not.” Orsino hesitantly hugged him, surprised when the embrace was returned, Cesario holding on tightly, clutching the fabric of
his vest. Mr Brennan’s face was marvellous - he looked totally lost, settling for patting his companion’s back lightly, kissing the top of
his head as if in an afterthought.
Then they both pulled back slightly, Orsino’s hand resting low on Cesario’s hip, just above his thigh, their lips inches apart, gazing at each
other. It was the most amazing tension, the audience waiting with bated breath for something to happen. Anything. Almost kissing, then
Cesario whispered shakily, “Sir, shall I to this Lady?”
A moment later, Orsino (giving the impression of paling at what he had - almost - done) was standing and waving Cesario away on his
errand and the latter went, relieved, shaken and confused. Looking after him, the Duke’s face showed mainly wonder and incomprehension.
Just one word: wow. Wow. And wow. ;D (so it were four words... *winks*)
The end scene (Act V, scene 1) was wonderful too, especially on Mr Brennan’s part. He was so brilliantly enraged and unsure of what
was happening or had been happening behind his back. When the twins are standing opposite of each other, Olivia’s “Most wonderful.”
brought the house down. Perhaps because Mr Rylance had that inexplicably mischievous and delighted smirk on his face? ;D Oh, and not
to forget the giggle behind his hand when he heard that he was “betroth’d both to a Maid and Man”.
After all had been done to get Malvolio thither, Orsino wanted to address his lady, however as he tried with “here is my hand”, he found himself
confronting a very shocked and appalled Sebastian. While Cesario sat on a bench off to the side with a sweet smile. Which became even sweeter
when the Duke kneeled down in front of him and said, “…you shall from this time be your Master’s Mistress.”
Did I mention Mr Brown was marvellous? ;D
To summarize - this was one of the most brilliant Shakespeare productions I’ve seen to date - mainly due to the outstanding cast (I still don’t
like the play ;D) and it was an absolute treat to be able to see it. I just wish I could have gone a second time…
Cast List
Duke Orsino...Liam Brennan
Viola...Michael Brown
Maria...Paul Chahidi
Feste...Peter Hamilton Dyer
Antonio...Colin Hurley
Curio/Officer...Simon Hyde
Fabian/Sea Captain...Jan Knightley
Sebastian...Rhys Meredith
Olivia...Mark Rylance
Valentine/Priest...Peter Shorey
Sir Toby Belch...Bill Stewart
Malvolio...Timothy Walker*
Sir Andrew Aguecheek...Albie Woodington
* Remember the film 'Four Weddings & A Funeral'? Mr Walker was Angus, the bridegroom with the sheep! ;D
Questions, comments and suggestions can be directed to me at
ferngully_at@yahoo.com.
