18. Twelfth Night (1976)

The production of Shakespeare's "Twelfth Night" was a delight from beginning to end. Although the story is unbelievably far-fetched and suspension of disbelief at times unbearably difficult, this very quality of brazen audacity brings its own peculiar joys in its train. In the presence of the pranks and artifices of Shakespearian comedy at its best, it doesn't do to succumb to graceless analysis and humourless pseudo-intellectual plodding. This play is a romp, qualified in places it is true with a touch of romance and sentiment, but first and last it is a romp. What is more, there is no doubt, to judge from the reaction of the audience, that a Shakespearian romp provides as good an evening's entertainment as anything else on offer. The reception of this production was enthusiastic.

If I say that three actors stood out above the rest, this does not mean that some of the others were not very good indeed. As it happens, there are three very demanding parts, and it was a mark of the quality of the casting that these three parts were played by the three most mature performers. Taking the names in the order on the Dramatis Personae the first of the three was Jane Lane who took the part of Viola. It was a beautiful performance, magnificently combining her double role of dutiful messenger for the love-sick Orsino to the unbending Olivia, and love-smitten admirer of Orsino, herself. Her liveliness, tenderness, and intelligent involvement in this many-sided character made this a most memorable performance. How cleverly she spoke her lines too!

The second of my trio was Malvolio, played by Malcolm Alter. Shall we ever forget the sight of Malcolm strutting across the stage, cross-gartered, in yellow stockings? How proud he was when Olivia's counterfeit letter expressed love to him, how arrogantly he reacted to the expected rise in his social standing, how injured when the marriage between expectation and reality was so rudely called off! Shakespeare intended this character to be improbable throughout. Malcolm, ably abetted by the costume and make-up departments, would have filled the author's heart with joy.

Then there was John Henley as Feste, Olivia's Clown. This was a charming performance. Blithe, vigorous, scintillating and graceful, he brought to us all of what his Medieval profession sought to bring to those who employed them, a lightening of the heart and an easing of life's burden. He also sang very pleasingly, and although the part called for a rapid delivery of the lines, he delivered them with such clarity that not a word was denied the audience.

There were many other delights. Olivia movingly portrayed by Nikki Hutchins; Maria played by Kim Hughes was a bundle of impish fun. Richard Burdett's facial expressions as he hid behind the bushes listening to the preposterous pomposity of Malvolio was another highlight. Richard Jones, suitably padded for the occasion, gave an amusing portrayal of the perpetually drunken Sir Toby Belch. Paul Harris as Sir Andrew Aguecheek, John Davis as Orsino, Adrian Stent as Sebastian, Terence Maguire as Antonio, Peter Darrell as a sea captain, Paul Willmer as a priest all gave good support to the main characters. The very minor characters, introduced by the author to give his actors something to do, rather than for any dramatic purpose, were competently done by Robert Pearce, Brian Everitt, Alison Goodfellow, Timothy Barder, Mark Margetts, Robert Hall and Curt Peirson. Live music was convincingly provided by Mark Emerson and Roy McInnis.

The success of this production was due in part to the ready co-operation of St. Mary's who provided us with some talented actresses, in part to the vast army of staff and boys who helped behind the stage, but chiefly to the sure direction and skill of Mr. Alan Tisdall. For my part I felt a richer and better man for seeing this play. My guess is that I was not alone in this reaction.

D.D.