Shakespeare’s beloved comedy classic returns to the London scene in a new queer-themed production starting Regent’s Park’s Open Air Theatre’s next season. Guillermo Nazara shares his views on the show, to let us know if this piece upon a stage now should be condemned as improbable fiction.
“Be not afraid of greatness. Some are born great, some achieve greatness, and others have greatness thrust upon them”. I keep telling that to my loved ones. I want them to feel proud of themselves – not everyone can be graced with my company, after all. Some dates end up blocking me on WhatsApp but I understand – they’re just a bunch of babies… reindeers. Anyway. What else speaks passion, deception, a bit of b*tch-slapping and a whole lot of romantic nonsense (I don’t deal with breakups well) than a Shakespeare’s comedy? We have beauties, we have twins (overthink it not, thou rascal) and a long stream of misunderstandings to make a night – or a dozen (I’m doing the best I can, okay?!).
Last week, Regent’s Park’s Open Air Theatre inaugurated its new season with Twelfth Night, an original take on The Bard’s popular piece – lifting the story into a completely different level of camp where queernees becomes the norm. Directed by Owen Horsley, his approach drags us into a 70s stylized universe, moving the action to some (presumably) harbour-based bar owned by lead character Olivia – now turned into a whithered diva whose establishment will serve as the stage for her own personal drama.
Featuring enticing visuals through Basia Binkowska’s picturesque set design, combined with Aideen Malone’s highly aesthetic and narratively effective lighting design, the production excels in its goal for spectacle – boosting the absurdity and, in the end, the entire humour of the source material through its grotesque touch of glorious decadence. The approach manages to do the trick to quite a few extents – building a closer, more relatable image to the audience, somehow underlining the universality of the characters by modernising their looks while preserving their original essence through the author’s words.
Including live musical performances (with all instruments played by the cast’s ensemble), the montage is a true ball of theatrical fire – regaling us with electrifying renditions through a recount which, though its first half could benefit from a better rhythm in some of its sections (with a considerable part of the Overture feeling slightly unnecessary), is anyhow able to engage its viewers by presenting the conflict in a compelling enough manner in the beginning , while sending the laughs through the roof by devising a remarkably amusing second act.
With most of the company delivering their parts with astounding rapport and magnetism, it’s their flawless assimilation of the text (in addition to their exceptional comedic ability) that allows their portrayals to genuinely stand out. Among them, Nicholas Karimi makes a notable appearance as Antonio, endowing the personage with solemn charm and charisma, while Michael Matus gives a cracking interpretation in the draggified role of Toby Belch. Nonetheless, the highest praise goes undoubtedly to Anna Francolini as Olivia, crafting an extremely sympathetic and enchanting character it’s almost impossible not to fall in love with her (well, it is in the play, but you know what I mean…).
Crazy, intense and rather entertaining, Twelfth Night makes a joyous return to the London scene through an imperfect yet quite accomplished voyage. A few small changes regarding rhythm and blocking would help polish the gleam it already projects at many points, and allow it to take full advantage of this one face, one voice and one habit the montage has proved itself capable of putting together. It was once adored. But it has it within it to be adored again.
All pictures credit to Richard Lakos.
Twelfth Night plays at London’s Regent’s Park Open Air Theatre until 8 June. Tickets are available on the following link.