Fabian’s been kicked out, Sir Toby’s pretty fit and Malvolio doesn’t have anything to worry about downstairs. Already, this Twelfth Night sounds like it’s worth a look (who likes Fabian anyway?) Large appendages and pretty cast-members aside, Propeller’s all-male production dodges that fatal ‘bawdy romp’ bullet and dives into a dusty, Miss Havishamy set in a production that sheds much of the typical, tired gloss. Vince Leigh’s Toby is less jolly uncle, more self-destructive loner, Feste embodies Fabian, and the frustratingly underwritten Orsino is fleshed out as a tormented figure grappling with a disorientating onslaught of same-sex attraction.
Impressions of this 2007 revival will inevitably be coloured by last year’s lauded all male production at The Globe. Gary Shelford’s icy, tight-lipped Olivia contends with Rylance’s impeccably neurotic, infatuated wreck, whilst Joseph Chance’s manly Viola is the polar opposite to the enigmatically effeminate Johnny Flynn. Indeed, smaller than Malvolio’s it may be, but there’s never a doubt that Chance’s Cesario ain’t no eunuch. The Viola/Cesario transition is cemented with a removal of a flowery hair-piece that feels like a lazy short-cut, though this is likely because Propeller’s Viola has been approached more as a narrative necessity than a key point of focus.
Ghosts of Twelfth Night’s past should probably, however, be deemed dismissible incidentals of this thoughtful production which weaves an intriguing mesh of sex, silliness and brutal, vindictive agenda. Edward Hall bypasses the bog standard love triangle/gender-bending directorial trajectory to magnify the Malvolio subplot and the unsettling realities of the play’s conclusion. This production probes past the booze and bawd of Malvolio’s persecutors to reveal what are perhaps some of Shakespeare’s most unredeeming characters. 4/5
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