Noda Review – June 2018
This is one of the lighter and better known of Shakespeare’s plays and one of my favourites. It is a comedy involving twins who have been separated in a shipwreck and the unlikely situations, which arise of mistaken identity, when the female twin decides to disguise her identity by dressing like her brother.
It had been decided to set it in the 1920s and so avoid period costume of the 1600s. There were many ‘front of tabs’ scenes allowing more elaborate scenes to be set behind the curtains. The sets were all up to the usual high standards of this group, well painted, dressed and furnished; but I was a little disappointed with front of tabs scenes. I know there is very little space backstage for storing furniture and so a folding bench was used for people to sit on but I felt it was not in keeping with the production and took time to be brought on and taken off by the stage crew, and stopped the flow of the action. Perhaps something smaller, which could have been set by the cast, would have been better and actually a couple of times I felt it was not needed at all. The lighting had been well designed to cope with new position of the tab track; it lit the stage well and was well cued, as was the sound. The sound and lighting creating the storm at the beginning were effective, although I felt the lightening went on a bit too long. Most of the costumes were well chosen and fitted well, Orsino’s looked a little tight. I liked the transformation of Malvolio when ‘cross-gartered’, to plus fours and argyle stockings.
The fact that there were no female actors when Shakespeare wrote his plays means that there are many male roles which it is not always possible to fill with men, so this company had two females in the roles of Feste, the clown and Fabian, a servant to Olivia, who became Fabienne, which did not cause a problem; also some people played dual roles.
Viola is a complex role, as she assumes the identity of her believed dead brother, and then whilst working for her master Orsino, trying to persuade Olivia that he loves her, finds she is in love with him herself, but also that he is attracted to her. Naomi Dunn was assertive in this role, with her air of feminine masculinity. Her twin brother Sebastian, is a more straightforward character and a smaller role than Viola, but he is vital to the story. Played by Cameron Hall, he came over as someone who knew his own mind, and although grieving for his sister, was not going to wallow in self-pity. Orsino, played by David Hill, was in command as the powerful Duke, and displayed his confusion when he realises he is starting to have feelings for ‘Cesario’ as well. There was a lovely reaction when he mistakes Sebastian for Cesario. Sir Toby Belch, Olivia’s Uncle, is actually not a very nice character, he is cunning and hard drinking, seeking out pleasure at every turn, no matter how much he uses or humiliates people. Nigel Lane in this role brought out the many elements of his character and played his drunken scenes with care and gusto, never going too far. Sir Andrew Aguecheek, Sir Toby’s drinking partner and ill-used by him, was convincingly brought to life by Ian Cornes. He showed the silliness of his nature mistakenly believing himself to be a good dancer and great lover and being coerced into a duel; and then the pathos when he realises he has been duped. Sarah Cullyer, as Olivia, tried to control her household as best she could. She showed a change in character from the mournful grieving to her happier self when she falls in love with Cesario. Sam Stillman, as her maid Maria, brought out the humour and impish side of her nature when with Sir Toby, whilst maintaining a more demure demeanour with Olivia. Joanne Plumbley, as Fabienne, entered enthusiastically into the plot against Malvolio, showing her desire for revenge. Peter Wiggins gave a superb performance as Malvolio, steward to Olivia. He captured the superciliousness of the character, showing why he was so detested by the others; and then the pathos after the cruel trick played upon him, which made the audience very sympathetic to him. His facial expressions were excellent, going from the straight faces of authority, to the most unlikely smiles when carrying out the instructions in the letter. He really did look as though he did not know how to smile and it was quite painful. Feste is an interesting character, being a Licenced Fool and entertainer, has the ability to say things no one else would get away with, and come and go pretty much as he pleases. This was one of the traditionally male characters played by a female in this production, and it worked well. The multi- talented Lizzie Lindsell showed her skills in singing, acting and playing several instruments in the execution of this role. All other roles were competently played by Calum Sharp, Andrew Cullyer and John Thompson.
Director, Sarah Wiggins, had some interesting ideas. A gramophone played the music which gave rise to Orsino’s, ‘If music be the food of love’ speech. It had been decided to replace to tradition songs with those of the era such as ‘I Want to be Loved by You’ and ‘It Ain’t What You Do’. There were extensive programme notes for anyone coming to the play for the first time. This play, which was a change from the lighter comedy often performed by the group, had been well interpreted and well directed. The audience thoroughly enjoyed it.
Director: Sarah Wiggins