Twelfth Night

“Twelfth Night” was originally scheduled to be staged in 2020, and the long lead time evidently allowed every aspect of the production to be carefully considered.  The decision to set the work in the 1920s was followed through with conviction; the set design was gloriously art deco, and incorporated three distinct acting areas with several levels and impressive period detailing.  The costumes, notably those for Olivia, Sir Toby and Sir Andrew, evoked the era perfectly.

Choosing to stage the play in the environs of the Hotel Illyria was not without its problems though; the proximity of the courts of Orsino and Olivia made some of the deceptions and confusions less plausible, and Malvolio giving chase to Cesario felt a bit odd when effectively s/he only had to walk across the foyer to return to Orsino’s court.  The beach, with its stripy deck chairs and wind breaks, was an effective setting for the duping of Malvolio, but it was uncomfortably close to the hotel; and the cell in which Malvolio is imprisoned came from an altogether different era.  But these are minor quibbles, and there’s no denying that the production was a visual delight, especially when the different areas and levels were used to good effect in tableaux at key moments.

The success of Shakespearean productions depends above all on how well the verse is spoken, and for the most part a talented cast brought it vividly to life.  The staging was elevated by the addition of specially composed music; the score was strongly influenced by jazz and blues, while the melodies referenced more traditional settings of Shakespearean songs.

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