‘Twelfth Night’

Press, 8 March 1984, Page 8

‘Twelfth Night’

“Twelfth Night” by William Shakespeare, directed by John Retallack for the Actor’s Touring Company and the Christchurch Festival, at the James Hay Theatre. March 7 to 14. Running time: 8 'p.m. to 11.15 p.m. Reviewed by Gerrit Bahlman. A bare, chair-studded stage, the simplest of musical instruments — and Shakespeare’s romantic comedy in the hands of a superb trotfpe came to life.

The eight-member company was forced to double parts and make do in terms of fastidious sets and clever effects but the energy, fun, and glory of Shakespeare’s language reigned supreme. Three members of the company gave outstanding performances. Janet Amsbury, as Viola disguised as Cesario, was captivating, sensitive and emotionally

eloquent. Her diction, timing, and delivery were superb. A most impressive performance. Michael Mears doubled as Orsino and Malvolio. In each character he established integrity and depth. .His Malvolio was citric in both line and visage with a mincy walk and uplifted nose that made his abject -reduction initially hilarious and ultimately pathetic. . Malcolm Scates as the jester produced the energetic freneticism of Jerry Lewis with excellent comic timing and a strong, melodic singing voice. The production used music skilfully to enhance and break potential chunks of prose. The comic trio of Sir Toby Belch, Sir Andrew Aguecheek, and Feste were irrepressible and Maria, played by Claire Benedict, gave the “device” against Malvolio comic credibility.

The doubling created some confusion with principals from one scene appearing in the court of the opposition. In one instance, the Lady Olivia (Renalta Allen) was viewed as one of the musicians wearing the same sombre clothing as before. Initital disorientation was understandable.

The calibre of the production may be understood in terms of the quick and clever scene change in Act HI where a depressed and disillusioned Olivia leaves the stage sobbing at her rejection by Cesario, to find Sir Aguecheek coming on and presenting an immediate comic parody of the same sentiments. Richard Henry’s long, melancholy face and his slow wit as Sir Andrew were delightful. Although long, the play did not appear so and was greeted with great merriment and genuine pleasure.