THE STAGE “TWELFTH NIGHT”

Press, Volume LXXXVII, Issue 26513, 30 August 1951, Page 3

THE STAGE “TWELFTH NIGHT”

BRITISH COMPANY’S SUCCESS

Those who have no appreciation oi Shakespeare but that gained from unwilling labours over a school textbook would do well to see the British Commonwealth Theatre Company's production of “Twelfth Night," which opened a season at the Theatre Royal last evening. Those who have long enjoyed Shakespeare, and the student, would both delight, too, in the playing of this, one of Shakespeare’s beatloved works, and the last of his great comedies.

“Twelfth Night” is what might sow be called escapist fare—a story of mistaken identity, almost Hollywood in its development It is traditionally regarded as more open than the rest of Shakespeare’s plays to individual interpretation, and the expert hand ef the producer. Miss Ngaio Marsh, is again in evidence. It is a producer 1 * play, and Miss Marsh has placed the emphasis on the rich comedy in which the play abounds, rather than on the romantic side of this delicate story. The players fresh from the somewhat sordid, introspective “Six Characters in Search of an Author.” back her up admirably. Thia is good fun. delightfuly done. The wit and warmth of Shakespeare, expressed so vivaciously, make truly delightful entertainment. There was no hint of oratory, of declamation; the stage characters were human and robust where Shakespeare intended they should be; and there was no need for a microphone. The play was presented in what might well be much the way the author’s contemporaries saw it There is only one interval, and the scenery, simple and conventional, is designed to keep the movement flowing, the changes being made in commendably brief style. The artistry of Miss Marsh in the grouping of her players was noticeable in “Six Characters in Search of an Author.” In "Twelfth Night” the grouping is of course not so dramatic, but Miss Marsh’s instinct for balance is there again. The lighting was most effective, particularly at curtain rise and at the end of the plav.

No praise can be too high for the performance of Brigid Lenihan as Viola. Her versatility is remarkable. In a particularly talented cast, she made perhaps more effective use of changes in tone and exoression than any of the others, and in the duel scene she showed a distinct flair for comedy. Miss Lenihan has a beautiful address, a highly developed sense of timing, and sr,e played Viola with the charm and dignity the role demanded. Her performances in the company's two plays in Christchurch will be long remembered. With Feste, capably played by John Schlesinger. Viola is responsible for the linking of the main story with the sub-plot, in which Sir Toby Belch, Sir Andrew Aguecheek, and Malvolio make fun of the weaknesses of mankind. Frederick Bennett’s performance as Sir Toby Belch was memorable. He is responsible for most of the humour and He never had to labour tor the generous laughter he drew. His miming was irresistible, and he showed a remarkable flexibility. A figure of fun from his first lines to his last, Sir Toby Belch is not an easy figure to sustain, but Frederick Bennett's interpretation was smoothness itself. Peter Howell emphasised the comic side of Sir Andrew Aguecheek’s personality rather than attempting to make him a figure for sympathy, and he, too, was remarkably good. His duel with Viola, among the best scenes in the play, was one of the funniest seen’ cp a Christchurch stage for a long time. So. too, was the letter incident with Malvolio, splendidly played by Peter Varley. Malvolio is the only character in the play ti> whom Shakespeare has not given good nature in large measure, and Peter Varley's Malvolio is as dry and unsympathetic as most guardians of other people's morals. Basil Henson, as Orsmo, has a much smaller role than in “Six Characters in Search of an Author,” but he did it particularly well, and Antonio, played by Geoffrey Taylor, had just enough suggestion of swagger. Marcia Hathaway gave a 'spirited performance as Maria, but her exuberance was at times a little tiring. This company deserves every support and encouragement, but there was a depressingly small audience last evening. Christchurch owes something to the players, and to Miss Marsh, and it is to be hoped that recognition of its extraordinary ability will soon be given. Watching so en--1 lovable a performance as “Twelfth Night” is a pleasant way of paying a debt.