Twelfth Night

This current heatwave certainly provided a perfect night by the sea within the beautiful Italian Gardens of Eastbourne. An elegant marquee with lawn swathes and chandelier provided an entrance reception area complete with bar, the most amazing selection of delicious cakes, coffees and teas and a large screen rolling pictures of the cast in action. A pathway led into a turfed square performance area with comfortable covered seating on three sides, the fourth two archways and covered trellising covered with foliage and flowers led to the households in Illyria of Duke Orsino with his few attendants and Lady Olivia’s extravagant abode where she is surrounded by servants, where she is in deep mourning for the loss of her brother.  This was some auditorium build – a team effort including seating, the lighting rigs and techie desk hidden in one corner. This provided a good-sized space to work in plus entry and exit use from the main entrance and another on the opposite side. The moving of the chaise longue by the two servants worked well, much with humour, with other larger pieces being carried on and off by cast members. The set designer was Christian McDonald who was assisted by Louise Ware who provided an array of props.

With Peter heading as Director and an excellent cast to work with, this ‘first’ was more than I expected. I did read the play but as the bard’s script was acted out, the plot with much humour unravelled the confusions, mistaken identities, gender disguise, mischief and of romance and a satisfactory conclusion. Natural acoustics made the voices carry and every word was audible.                                                                                                     

The opening prologue was comically performed in spoken word and song setting the scene. Orsino is deeply infatuated with Countess Olivia, who constantly refuses his advances. A shipwreck separates twins Viola and Sebastian and believing her brother to be drowned she disguises herself as a page Cesario and talks herself into Orsino’s service, quickly becoming his favourite.  She then secretly falls in love with him! Orsino sends Cesario to Olivia on his behalf, Olivia falls for Cesario, unaware that Cesario is Viola thus creating a complex situation.

Olivia’s uncle, a wonderful drunkard Toby Belch, and his friend Sir Andrew Aguecheek attempt to court Olivia, masterminded by maid Maria, along with others, a prank on the pompous steward Malvolio, tricking him into believing Olivia loves him and wears the yellow stockings crossed gartered in black which she hates. To Malvolio’s humiliation he’s incarcerated in a blackened jail which provides more comedy and highlights social ambition. Sebastian, Viola’s twin, survived a shipwreck and arrives in Illyria, leading to a series of mistaken identities. Antonio, a sea captain who rescued Sebastian, mistakes Viola for Sebastian and intervenes in a boxing match, further complicating matters. Eventually, Viola and Sebastian appear together confusing all, revealing Viola’s true identity. Orsino, realizing Viola’s love and her true identity, proposes marriage. Olivia marries Sebastian, and the play concludes with various reconciliations, whilst Malvolio seeks revenge for his dreadful mistreatment.

A well-balanced cast of much experience and welcoming new young members which is always encouraging. Script flowed, with characters strong in voice with much physicality. The music chosen was interesting using a Nat King Cole number L-O-V-E. With accompaniment from Feste, returner to the stage Stephen Lowin who learned to play his ukulele, we enjoyed George Formby’s ‘When I’m Cleaning Windows’ and a cast number creating Mischief - such fun.

Playing her debut role was Tanieth Kerr as Viola and disguised as Cesario confidently, with a very strong and determined, elegant Olivia from Lily Alliston – and can’t she bellow - with her second role with EODS. I was delighted to receive a single red rose from Sam Kavakli playing the Duke, again with much confidence and clarity. I’d seen him portray Mr Myers in ‘Witness for the Prosecution', another strong part. He also collated a very impressive programme for the production. Keeping it in the family was brother Louie playing dual roles of Antonio and Fabian again very nicely characterised. Following his recent performance in Shakespeare, he hopefully has the bug to perform more roles with the company. Gareth Brighton is a man with many personas and each role he takes on he lives the part and convinces me thoroughly. The pompous and proper Malvolio, characterised with aplomb by Gareth - his black trousers slightly longer perhaps? But Gareth your yellow tights and dishevelled self were a picture. Anthony Lusted as Sir Toby threw himself totally into this role – his drunken entry with large bottle of wine and his wrestling with a garden chair – physical movement brilliant. Jane Tingley took on the role of Sir Andrew, friend of Sir Toby, frightfully posh and she excelled in handkerchief waving, perhaps not so good at boxing but wonderful shorts!

I enjoyed Louise Ware’s Maria, Olivia’s maid – a great character part with some lovely mischief and accent. The double act of singing and dancing Lily Gibbons as Curio and Jade Powers as Valentine worked together so well in both appearance and cheek. They also made fine officers of the law. Sean Wilson looked as if he enjoyed multi-rolled playing firstly as the Sea Captain, the Priest plus the Chef. Christian McDonald a great Shakespeare lover was cover for Sebastian.

Graeme Herbert-Boon once again created the costume plot for each character with particular elegance in the dressing of Olivia. Ryan Tate designed the lighting with Kaya Luxton operating both the lighting and sound. I would like to thank the whole team involved in creating such a memorable production, my first to the Italian Gardens and Open-Air Shakespeare.

 

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