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    June 15, 2010
  • Theatre Review: Twelfth Night – Filter Theatre

    Rupert Bridgwater is swept away with the hedonism of Filter Theatre's Twelfth Night at Theatre Royal Bath’s Main House.

    Theatre Review: Twelfth Night – Filter Theatre
    The cast of Twelfth Night

    If music be the food of love, then… well party on. Osino's opening line uttered by Jonathan Broadbent, gave us excess of it, creating an alcohol-fuelled hedonistic student rave of a production. Filter Theatre tore up the rules and recreated Shakespeare in an anarchic energised form where the audience are part of the misrule.

    Illyria was modernised into a a live Twelfth Night fusion of rock gig complete with electric guitars, booze, plenty of feedback – but no cocaine or tobacco.

    And yet on closer inspection it was still Shakespeare – although following the text was difficult as whole scenes were cut to make way for the business of comedy and improvisation. Despite the seeming chaos, it was controlled and kept in rhythm by the play's ring master: Jonathan Broadbent as Orsino and Aguecheek.

    I had previously seen the show in 2008 at the Tobacco Factory in Bristol where the show was performed in the round in the more condensed low-ceilinged auditorium. In the much spacier portals of the Theatre Royal and with the house lights left on the production lost some of its intensity. The cast worked hard in connecting with the audience – going out in to the auditorium and pulling volunteers on to the stage – using the stalls as another performance area – and generally treating the audience as friends and extras.

    The cut down version of the text, coupled with the improvised feel and informal setting apparently originated from the play's minimal creation and rehearsal time of only a few days as part of the RSC's Complete Works programme

    Broadbent was in commanding form. Tumbling somersaults for the back trick one moment, staggering drunk as Andrew Aguecheek at another, and sitting quietly on the set as people arrived sipping a cup of tea.

    Ferdy Roberts as an air-guitar playing Malvolio, full of pomposity and self-love created several show-stopping moments – including when he breaks up Sir Toby's party – which included members of the audience. His transformation into the yellow-stockinged stalker of Olivia (played by a testy Victoria Huseley) was cringingly accurate in all his mirror-gazing narcissism.

    Poppy Miller as Viola was suitably in shock from the shipwreck amid the shipping forecast foretelling rain, rain and more rain. Like an uninvited guest at a wedding she stumbled uncertainly into the chaos, borrowing a coat from an audience member and playing her part in the unfurling comedy with a mix of disbelief and innocence. And unusually for this play she also played her brother Sebastian – which meant for a moment in the final act I was confused as there was no visual difference – just a drop in octave, a hunch of the shoulders and a blokish slouch.

    Oliver Dimsdale as Sir Toby Belch – the only actor dressed in Jacobean garb partied like only a permanent drunk can. Dimsdale is also the co-artistic director (along with Ferdy Roberts) of Filter Theatre – the company behind this long-running production. The set was a sort of rock gig rehearsal room, complete with musicians, bottles of Tequila, empty takeaway wrappers, trailing cables and microphones. The cut down version of the text, coupled with the improvised feel and informal setting apparently originated from the play's minimal creation and rehearsal time of only a few days as part of the RSC's Complete Works programme.

    With the finale orchestrated by Gemma Saunders as the fool – we even had a rock gig style ending with Gemma introducing each actor to their applause to the steady beat of the backing band. It was hugely entertaining.

    Tom Haines' soundscapes and live music gave the play its backdrop – however rock bands have a love of video and an insatiable thirst for drugs and lots of sex – but these were missing. Perhaps it was something to do with the show's appeal to schools. It didn't matter, as the energy, inventiveness and strong performances made this an exceptional and creative version of the comedy of mistaken identity and sexual confusion.

    Twelfth Night
    Theatre Royal Bath
    Runs until 19 June 2010

    Published on June 15, 2010 · Filed under: Featured, Reviews; Tagged as: , , ,

Comments

5 Responses to “Theatre Review: Twelfth Night – Filter Theatre”

  • Giulia James
    says:

    Does deconstruction help with engagement of the poetry in the live text and does it still have anything to do with Shakespeare?

  • Alice
    says:

    I disagree, i thought that the play was disgraceful. I took my 6 year old daughter to see it so i was not pleased. The only thing she leanrt from the play was the word “stripper”.

  • ella
    says:

    why would you take a 6 year old?.. did you not see the posters?..

  • Nathan
    says:

    the piece was heavier than i had expected as i went with my 6th form i knew it would be more adult content than other pieces, most shakespeare is more vulgar than cbbies though.

  • liam
    says:

    ABSOLUTELY AMAZING!
    Traveled all the way from the Isle of Man just to see it and LOVED it. Would happily go back and see another show by the same group.

    Why the hell would you take a six year old to watch Twelfth Night? :S

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