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Twelfth Night, a play rich with questions of mistaken identity, layers of gendered confusion, and the comedy of romantic chaos was recently brought to life at Lancing College. On a dark Tuesday in March, Mr Smith’s captivating production injected a certain excitement, one could even call it a ‘Midsummer madness’, into the evening.
The success of the play undoubtedly hinged upon the incredible performances of all of the actors — Harlan E (Lower Sixth) and Rosanna M (Upper Sixth) excellently conveyed the infatuated, unrequited lovers, Orsino and Olivia, whilst Izzy B (Lower Sixth) artfully navigated between her dual role as Viola/Cesario. Gabriel CB’s (Upper Sixth) skilful rendition of Malvolio was nuanced enough to balance comedy and tragedy, evoking both uproarious laughter and heartfelt sympathy from the audience, and the comedic duo of Albie T’s (Fifth Form) Sir Toby and Rafe C’s (Lower Sixth) Sir Andrew kept the audience more than entertained with their exaggerated physicality and lively antics.
It was clear that great care and consideration were taken to cast these roles, because each one was performed with such authenticity. Especially impressive was the flawless delivery of the Shakespearean English, which, even without microphones, the actors projected with abundant clarity and expression, which allowed the audience to follow every twist and turn of the complex plot. A further element which was carefully considered were the costumes, such as Olivia’s fabulously Edwardian up-do, but everyone agreed that Malvolio’s nightgown, and later cross gartered yellow stockings, were the real stars of the evening!
On the musical front, we were lucky enough to hear the original score from the Royal Shakespeare Company’s production. Feste’s songs were sung by Sophia W (Fifth Form) with a beautiful melancholy that allowed the audience to consider the tragic side of Shakespeare’s romantic comedy. Moreover, it was wonderful that the live musicians were actors in themselves — it was truly an amazing and unique experience to see them as a part of the cast, not hidden away, especially since music plays such a fundamental part in enhancing both the romantic and festive spirit of the play.
Despite studying the play in depth at A Level, I felt that Mr Smith’s adaptation really helped this 400 year old play to come to life for me. The creative license employed in this performance was joyfully received by the audience, for example the tense moment in which Orsino is leaning in to kiss Cesario, and the bathos of him later mistakenly turning to Sebastian. The director’s focus on Malvolio’s cruel incarceration actually gave me a newfound sympathy for him, and when upon being freed he trudged sadly across the stage with a small suitcase in hand, Malvolio’s character was presented in a new light — a sign of true skill, to turn an audience from pure loathing to evoking pathos from them. The final scene in Mr. Smith’s adaptation, in which Orsino and Viola, as well as Sebastian and Olivia, hold hands, was an extremely poignant conclusion to the play, because just as you think a resolution has been reached, the pairs swap hands. At this point it becomes clear to us that the couples may not be as happy as they appear, and that the comedy is in fact tinged with the tragedy of insincere love. For me this provided a fitting return to the mistaken identity and romantic chaos of the Twelfth Night that we know and love.
Written by Ria Y, Upper Sixth Form