Twelfth night or what you review – Knockabout comedy eliminates fear

It is a festival period in Illyria with masked revelations in addition to music and the song in Robin Belfield’s staging of Shakespeare’s comedy. Periodic dress production with past modern degrees is extremely knockabout and distracts itself from the fearful layers of the play. That may be enough for a summer show, but it has little to expand that Sean Holmes’ Roisterous Romping Post-Pandemische Romp a twelfth night in 2021.

The dyspeptic crew, which Sir Andrew Aguecheek (played by Ian Drysdale as a swing Oscar Wilde type), a Lady Belch (Jocelyn Jee Essien) and Maria (Alison Halstead) played. But the fear of the central romances is swallowed by laughter and lightness.

Ronkẹ adékọluẹ́jọ́ is an optimistic viola/cesario, the oppressed passion for Orsino (Solomon Israel) is summarized in comic gurns. Orsinos Lovelorner Self -remuneration is overflowed and his vital speech “If music is the food of love, play on …” Whizzes unnoticed. Laura Hannas Olivia is well played, but her character is sent for the Klownic nature of her grief and a change of quick change to the romantic desire for Cesario.

You do not feel the shepherds of the unrequited desire, and a large part of the verse is steamed by inconspicuous delivery in general.

Belfield puts same -sex love in the foreground by transforming the devotion expressed by Sea Captain Antonio (Max Keeble) into Viola’s twin brother Sebastian (Kwami Odoom) into explicit homosexual passion. That makes less sense when the latter marries Olivia. Does he swing in both directions? It becomes another unresolved element in a Baggy production, the Jaapery of which spilled in disorder and some points of action remain opaque.

There are none of the sharper elements that give the piece its complexity. Malvolio (Lugubrisch with Quacer-Ish Bart by Pearce Quigley) is a Puritan Killjoy, but crabs almost lovingly. He breaks late -off revelations with a cute night slot while he defines a teddy bear, and his convicted yellow stockings are not particularly funny, although Quigley gives his person a sexual energy after reading the trick letter. But his spinning never enters the realm of tragic.

Jos Vantyler as a festival is a highlight with a beautiful voice voice and Simon Slater’s compositions are contagious with occasional “Olés” that are added to Shakespeare’s songs. In motion there is a touch of The Music Hall, including the Can-Can in a funny scene that affects the participation of the audience.

Jean Chans Set offers a gigantic bronze sun that shines its rays across the stage, while her outfit characters give the appearance of bright peacocks or circus files. So there are tons of charm and midsummer madness that leads the darkness of the piece away. Do what you want, I assume.