Twelfth Night

After 65 years of Shakespeare at The George we have a new venue and rebranded name as the group have now moved to the absolutely fabulous location of Buckden Towers, providing a choice of authentic mediaeval backdrops to the Bard’s works, and SatT certainly took to it like a duck to water. This was no mean feat, as the Chairman’s message in the programme states, this meant starting again from scratch with a completely new approach; adding additional facilities such as toilets and car parking with an additional army of volunteers.  And what a superbly efficient job they did of it. I’d say this was more a massive upgrade rather than a straight change of venue.

For this production the venue chosen was the very impressive well-kept Knot Garden. The set design by Sarah Deboys was beautifully simple and blended so appropriately into the backdrop of the entrance to one of the towers, centre rear. In front of which was a marble effect Romanesque arch, two benches and a couple of Roman inspired statues. To stage left were three topiary style bushes in pots which were cleverly used to hide behind during the scene to set Malvolio up with the fake letter. The only scene change was to bring on a set of bars to depict Malvolio in prison.  Entrances and exits were either through the door to the tower or to either side of the auditorium. The actual stage floor was the well-worn and in places uneven flagstones in front of the tower, which did illicit the odd minor, but always well recovered, trip from the participating actors And the whole set worked extremely well.

Lighting by Max Richardson consisted of two large scaffold rigs to either side of the stage which were all on from the beginning allowing the light to perfectly blend as darkness fell towards the end of the second half. Sound was by Martin Avery and together with the well projected speeches from all the actors never gave my aging ears any problems whatsoever.

Costumes were expertly put together under supervisory control of Susan Dunn and were totally appropriate to each of characters, with the piece de resistance being the identical outfits of Viola and Sebastian and the highly amusing yellow stocking and cross-garters outfit of Malvolio.

The acting in this show was of a very high quality indeed and the characterisation absolutely sublime from both the old hands from previous productions and the influx of new talent. Full marks indeed to the Director Chris Avery who certainly got the best out of her cast.

The show started with a lovely piece of mediaeval music with singing by Helen Reece as Orsino’s musician Curia who reappeared with various songs throughout the production, setting the scenes perfectly.

Newcomer Tiffany Charnley as Viola was quite simply a class act, her delivery sublime with a great sense of comic timing and with an extensive range of emotions expressed though her facial movements.  

Sally Le Page was a perfect Olivia, playing domineering and determined, whilst confronting her own sexuality, all the while trying not to let her guard drop.

The part of Gentlewoman Maria was supposed to be played by Alex Priestly, but she was unfortunately indisposed, so the Director herself, Chris Avery stood in, albeit with a *script in hand, but in all honesty, she rarely needed it and most of her speeches were delivered with hardly a glance at the book. A very confident stand in indeed.

When it comes to larger-than-life drunken parts in need of a perfect sense of comic timing then Richard Sockett is the go-to man, as he amply demonstrated here as Sir Toby Belch, who kept the audience chucking throughout, interspersed with quite a few belly laughs. 

Jordan White was the perfect foil to Richard Sockett as his companion Sir Andrew Aquecheek, contrastingly slim and tall and slightly built he put across this more reserved, easily led astray character exceedingly well. They made a great pair.

Ryan Coetsee as Orsino, was another strong part with an upright authoritarian air about him. Again, played to perfection. He was well served by his servant Valentine played by Keir Sims. ,

Another newcomer perfectly at home in this company was Emi Newington as Gentlewoman Fabia, revelling in the downfall of Malvolio. Wonderful facial expressions.

Ashton Cull as Malvalio gave us some the best comic moments when he went from the upright and uptight Steward to the lovesick suitor dressed in yellow stockings and cross-garters. Also, his come down to earth in prison speech was particularly poignant.

Robert Wain as Feste has a very fine comic touch and of course as the leading light in the Music Hall Society was able to bring his singing skills to the play and gave us some pretty good renditions.

Ted Ridgeway Watt, as Antonio gave us the highly amusing sword fight where neither participant knew what they were doing. Very much enjoyed by the audience.

SatT veteran Mark Hebert was the sea captain and an officer accompanied by Paul Gaskell as the other officer.

James Barwise replaced Peter Wyborn (who was credited in programme) as the Priest at a few days notice before the beginning of the run after Peter was indisposed and forced to pull out. Again, very well covered.

This was a class production done in totally appropriate mediaeval style, in a mediaeval environment to a totally engaged audience, who picked up on every comedic moment and we all left feeling we had been highly entertained, so well done indeed to Director Chris Avery and her cast and crew. I do think you have set a marker down in your new premises that will very much enhance SatT’s already very high reputation.

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