09 March 2017
Twelfth Night
The National Theatre
reviewed by Adam McCormack
Stars: *****
It is very rare for a new production of a Shakespeare play to succeed in every aspect, but Simon Godwin’s Twelfth Night has virtually no identifiable weakness. This is not a “safe” or standard approach – not only has the action been shifted to the twenty-first century, but the gender of Malvolio has been changed to a female – Malvolia. The modern setting works exceptionally well in providing a perfect backdrop for the bacchanalian romps of Sir Toby Belch and Sir Andrew Aguecheek, and the gender shift sits perfectly with the key plotline of the shipwrecked twins Viola and Sebastian, with the former passing herself off as a man.
The puritanical, socially ambitious Malvolia, wickedly misled into playing out her crush on Olivia, only to face mock imprisonment for lunacy, works just as well in a lesbian context, particularly given the modern setting. The real beauty of this approach, however, is that it allows us to appreciate the prodigious talents of Tamsin Greig. Her Mrs Danvers style management of her mistresses affairs and attempts to crush Belch (Tim McMullen) and Aguecheek’s (Daniel Rigby) revels, allow for great moments of farce which work beautifully as a result of their comic talents; they are also enhanced by the presence of Doon Mackichan as the fool, Feste. Grieg exudes self-importance and hubris and her transformation into the cross-gartered, yellow-stockinged suitor is hilarious.
Mackichan’s singing is worthy of such a strong production, as is the talented musical accompaniment. The musicians appear regularly on the stage and add much to the modern Illyrian feel. Their musical dexterity stands out, moving from witty sax to illustrate “If music be the food of love” to pounding dance music to energise the athletic Aguecheek and simpering disco queen Olivia (Phoebe Fox). That they are able to do this is one of the many triumphs of the set, the essence of which is a rotating staircase that, from facilitating the initial shipwreck scenes, opens out to provide backdrops for the various elements of Olivia’s villa. The garden scenes complete with fountains and topiary help generate the maximum effect from the duping of Malvolia. The seduction of Viola by Olivia in a Jacuzzi is hilarious and uncomfortable in equal measure.
For those who have been unable to get tickets for this sell-out run, there is the opportunity to see the production in cinemas on 6th April. Johan Cruyff was much lauded for his creation of total football – the National should win a similar crown for the development of total theatre.
If you enjoyed this article please share it using the buttons above.
Please click here if you would like a weekly email on publication of the ShawSheet
