Twelfth Night

Leighton Buzzard Drama Group for the second time decided to set a Shakespearean classic in a 20th century setting. Two years ago, it was A Midsummer Night’s Dream in the 1940s and this year its Twelfth Night in the 50s. And it has certainly added a whole new dimension to the Bard’s work and made quite a refreshing change in this version directed by Sue Sachon.

The stage setting, designed by Mike Ward and David Sachon and created by Colin Delamore, Mike Ward, Phil Pope, Sue Calvert and Colin Aldous was a very bright sandy beach scene backcloth complete with palm tree to depict the fictional land of Illyria.

The initial scene in front of this backcloth was a boat montage where the cast very cleverly formed the shape of the boat which was then shipwrecked, casting a Viola in a half drowned state onto the beach, all very cleverly choreographed by Harry Rodgers.

The scene in front of the beach backcloth was then transformed, so to both stage right and left were two stepped platforms facing each other and running from the back to the front of the stage, upon which were a pagoda style covering and furnished with ornate metal Victorian style garden tables and matching chairs. Each were then decorated in both flowers and fairy lights.  The top of the stage left pagoda also served as an entrance and exit. The addition of three blue and white stripped wooden deck chairs provided one of the best comic scenes where they were used to hide behind during Malvolio’s reading of the fake letter. To stage right on the forestage was a little alcove containing a table containing a 50s record player and what turned out to be a flimsy wooden crate. More on that later. It was a very bright and inviting set, which wouldn’t be the first thing that came to mind with the Bard and Twelfth Night, but it worked really well. And brought a smile to the audience’s faces. We would all have happily gone on holiday there.

Carrying out their usual tasks, lighting by Dave Miles added the finishing touches to this colourful scene and sound by Rob Taylor was crystal.

Costumes by Sheena Ward were of course extremely well done, from the sea Captain in white to the matching dungaree outfits for Viola and Sebastian, to the great kilt outfit, complete with yellow stockings and cross garters, for Malvolio

The acting in this was top draw and thoroughly engaging from beginning to end.  The pace was relentless; rarely a heartbeat between one line and the next, clearly indicating the number of hours that surely must have gone into rehearsals – this kind of acting and reacting simply doesn’t happen by chance.

Hannah Williams Lovell was an excellent choice for Viola/Cesario handing the emotional side of Viola romantic aspirations, her part as the disguised Cesario in Orsino’s service and the unwanted attentions of Countess Olivia with deft comic touch, especially with her use of facial expression, which drew many a laugh extricating herself from the various scenarios.

Steven Cotton in a matching outfit was her brother Sebastian. An excellent effort in the costume and makeup department to match them.

Simon Theodorou as Duke Orsino had an “Adonis” suntanned figure and together with the air of an aristocrat gave us a very memorable performance as he swanned a commanding presence across the stage in beach wear with sunglasses and drink in hand.

Ben Dards as the larger-than-life Sir Toby Belch it turns out does drunken debauchery rather well as he amply displayed. He also provided one of those wonderful comic unrehearsed, priceless moments when he sat on the flimsy crate and the whole thing collapsed, from which he quickly recovered with an equally unscripted quip to much merriment. Brilliant!

Belch’s companion Sir Andrew Aguecheek, played by Tony White, a man with a natural comedic touch was his perfect foil. The boxing match, choreographed by Harry Rodgers in particular was highly amusing as neither contestant had a clue.

Emma Brown was the upright Countess Olivia whose intransient prudish ways are slowly peeled away especially by Cesario, upon whom she develops a crush.

John Stone, in full Kilt as Countess Olivia’s despised Steward Malvolio, was absolutely excellent, providing the feed lines to some of the best comedy moments of the play.  My favourite being when he was reading the fake letter sitting in a deckchair, with three of them hiding behind them and the drunkard Sir Toby’s hand comes round to try and steel his hip flask. Absolutely hilarious. Also the monologue in that scene must be one of the longest in the Bard’s repertoire and John delivered it to perfection. And of course, not forgetting those yellow stocking and cross garters, I’m still laughing now.

Now I’ve never thought of a female court jester but with Abby Clark as Feste, it really did work and once I’d become used to the idea, she fitted the part like a glove. Nice job!

Antonio played by Lois Wright was another dressing part that again worked well. This show was full of little surprises that did nothing but enhanced the production. Again well done.

Charles Merritt, a man who was born destined for stage comedy, played Fabian to the hilt, again extracting every ounce of comedy with his natural sense of timing and athletic ability.

Well done also to Randell Moll as the Captain, Mark Loughran as Curio and Officer 1 and Tara Pathirana as Valentine / Priest and Officer 2.

I’m getting used to the idea of Shakespeare being performed out of its 17th century setting and here LBDG amply demonstrated that you can not only get away with it but make it really work. So well done to Sue Sachon, her cast and crew on this very memorable production. I very much look forward to seeing which of the Bard’s works they are going to set in the 60s/70s.

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