It’s thrilling. Spaces are not allowed; punctuation is not allowed except for periods, hyphens, apostrophes, and underscores. Photograph by Marc Brenner. The circularity of a well-designed elegant set that features tricks and doors, transparency and staircases that turns on its own momentum, plays beautifully into the mix of movement and choreography scene changes and serious hilarity in this gorgeous work. Rebecca’s Mrs Danvers with a black fringe, Greig edges around human detritus as if it were something an underling should scoop up. Greig’s Malvolio is a nasty bit of work, consumed with her own sense of importance, under an implacable ‘Prince Valiant’ hairdo, but her interpretation is so well developed that she takes you from raucous laughter at her comeuppance into deep pity at the cruelty of her punishment. So begins a whirlwind of mistaken identity and unrequited love. There are moments when she evokes the tragically washed up Frank ‘n Furter in the Rocky Horror Show, after all has been said and done. Ben Harrison THE GRID IRON THEATRE COMPANY LIMITED . Tamsin Greig is Malvolia in a new twist on Shakespeare's classic comedy of mistaken identity. Their names phonetically entwined imprison and release themselves in a licensed moment of misrule. Directed by Simon Godwin. Make a donation to show you value what we do. Press enter to open the dropdown list, then press tab and enter to choose the language. The lines of the story are handled with bold legibility, unbridled pizzazz and the kind of skill that makes you remember what brilliant theatre is all about. Tim McMullan’s Toby Belch exudes ravaged handsomeness and an sprightliness to snare Niky Wardley’s pert Maria, someone who somewhat resembles Fox – often an attribute of such servants. Twelfth Night. And singing Sonnet 135? With a cast headed by the remarkable and utterly perfect Tamsin Greig as the hapless Malvolio, and a female Feste (Doon Mackichan) who sports everything from serpent shaped coiffures to some of the most outrageously delicious barbs for lines, maverick behaviour is ramped up all the way. Doel, Wardley and Mackichan make a strong supporting trio, the two servants sharply-observed, quirky and memorable. Her slinking around doors to catch vowels of laughter as she spits consonants is both comic and disturbing. Olivia’s household command is a nice obverse – even to a suite of waiting women in Elizabethan ruffs (so all the ensemble’s given a moment). Her extremes mark the first intimations of the terrible, defining this production. Venue: ... and Emmanuel Kojo’s Curio, Brad Morrison’s Valentine with mute and musical ensembles. The Oliver’s revolve throws up Soutra Gilmour’s Magic Roundabout of a pyramid, lit by James Farncombe with Sound by Christopher Shutt, Movement Shelley Maxwell, Fight Direction Kev McCurdy, Voice Work Jeannette Nelson, Michael Bruce’s music is so good you resent it being cut. Fox’s Olivia confronted with twins flinches into shuddering offence; again, like Orsino, she feels sexually cheated or confused. written by William Shakespeare, 1564-1616; directed by Simon Godwin, fl. It’s a splendidly made work, that flows easy on the eye and laugh instincts, in its flippant and caustic take on love and how music feeds it. Greig’s great scene is undoubtedly the set-piece of the planted letter. Uneasy laughter is nothing to her appearance in a clown’s white garb topping yellow cross-garters singing her love Chicago-like to a startled Olivia. Categories: Film, Review, Robyn Sassen, Theatre, Uncategorized, Tagged as: #NationalTheatreLive, Adam Best, Ammar Duffus, Andrew MacBean, Brad Morrison, Christopher Stutt, Claire Cordier, comedy, Dan Jackson, Daniel Ezra, Daniel Rigby, Doon Mackichan, Emmanuel Kojo, Festes, Fiona Matthews, hamlet, Hannah Lawrence, Imogen Doel, Imogen Slaughter, James Farncombe, James Wallace, Kev McCurdy, Malvolio, Marc Brenner, Mary Doherty, Michael Bruce, National Theatre Live at HOme, Oliver Chris, Olivier Theatre, Phoebe Fox, Shelley Maxwell, Simon Godwin, soutra gilmour, Tamara Lawrance, Tamsin Greig, Tim McMullan, Twelfth Night, Wayne Ractliffe, Whitney Kehinde, William Shakespeare, youtube, My View by Robyn Sassen and other writers, Twelfth Night by William Shakespeare | Artsvark, Johannesburg International Mozart Festival, Lynette Marais: The hand that rocked the cradle, Francois is gone: Not with a whimper but with a blast, There will always be love: RIP Maureen Donne, Paul Eilers: Actor-whisperer, with a heart of gold, Circles and cycles of Dirk Chalmers: A tribute, How to save the day with an air hostess revue, Brutal honesty and a room full of entitled little brats, Leader of the Band who kept it Real: RIP Andy McGibbon, Don’t go home through the Karoo alone, tonight, Archetypal Celt; king of the theatre of the mind: Jack Mullen. 2017, Adam Best, 1982-, Daniel Ezra, fl. It’s a perpetual La Ronde of consequences, or as someone else points out, whirligig. Enter your email address to subscribe to this blog and receive notifications of new posts by email. Till April 30th. London, United Kingdom. Chris can project moody rich boyboy – he’s one of this production’s ornaments. This is the name displayed to others on any playlists or clips you share, Copyright © 2020 by Alexander Street, a ProQuest Company, Logo of Alexander Street, a ProQuest company. Simon Godwin National Theatre. Exterior walls, buzz-ins, a fountain courtyard or alternatively refitted with a miniature swimming pool; a sumptuous glass-panelled drawing room attests Olivia’s retro living. A baffled sexuality contrasts her poise in dealing with Malviolia’s in all its forms. McMullan’s sprite is dissolute but not dissolved, nimble to catch Wardley’s quicksilver pranking; they form a natural, believable couple, even to Maria’s infamous likening to a beagle.

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