Twelfth Night
This was my first visit to the Orange Tree Theatre, and it is a lovely, intimate venue. The stage is in the centre, with performances happening in the round, creating a dynamic and engaging experience for the audience.
The production itself was remarkable. Many Shakespearean productions can come across as if the players don’t truly understand the meaning of what they are saying, but this was refreshingly different. The performers delivered their lines with such clarity and intention that even a Shakespeare novice would have no trouble following the play. Adding to the enjoyment were several aside-style ad-libs that poked fun at some of the language—for example, the witty reference to Slough and slough.
Set design was minimal, featuring only a grand piano and a vitrine off to the side, which allowed the focus to remain squarely on the performances. A particular highlight for me was Oliver Ford Davies OBE as Malvolio. His transformation, complete with the infamous yellow cross-gartered stockings and a ridiculous smile, was such a sharp contrast to his earlier, more austere portrayal of the character that it brought the entire audience to laughter.
Robert Mountford as Sir Andrew Aguecheek was also a delight to watch. His physicality and movement seemed influenced by the legendary Buster Keaton, adding a comedic grace that fit perfectly with the overall tone of the production.
The casting of Viola (Patricia Allison) and Sebastian (Tyler-Jo Richardson) was another standout aspect. For once, the two characters actually slightly resembled each other, which is a refreshing, from the usual reliance on costume or suspension of disbelief. This choice complemented the play’s sense of humour and worked beautifully. It’s worth noting that this show marked Richardson’s professional stage debut, and what a way to begin!
Olivia (Dorothea Myer-Bennett) was spectacular, bringing a nuanced and well-timed nonverbal comedy to the role. Under Tom Littler’s direction, Olivia came across as more of a cougar than I’ve seen in other productions, which added a new dimension to her character.
Set in the mid-1940s, the production featured an array of fashions, from white tie to dinner suits. The grand piano took centre stage and, despite its prominence, did not intrude on the action. Instead, Stefan Bednarczyk (Feste and Composer) used the piano and his music to complement and enhance the on-stage emotion. The piano itself sat on a revolve, moving so slowly it was almost imperceptible, which added to the fluidity of the staging.
Speaking of direction, there were some clever and simple touches that had the audience roaring with laughter—without giving too much away, look out for a teddy and a pheasant. These small additions were genius.
One critique I often have of Twelfth Night is that it rarely feels festive. While this production didn’t quite solve that entirely, the use of music—including a curtain call rendition of "The Twelve Days of Christmas" with a brilliant twist—left the audience smiling.
Finally, as much as we love a good play, it’s also worth supporting a good cause. Oliver Ford Davies is an ambassador for InterAct Stroke Support, a charity that does incredible work. I encourage you to find out more at www.interactstrokesupport.org
This show was reviewed on the 29th November 2024 at the Orange Tree Theatre, London where it runs until the 25th January 2025. Tickets available here: Twelfth Night - Orange Tree Theatre
Review written by Valentine Gale-Sides
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Photo credit: Ellie Kurttz
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