Twelfth Night
By William Shakespeare
Reviewed by Petra Einwiller and Justine Ettler

Winter 2002

We are all masters at self-deception, we do it all the time. Either we’re not connected with our deepest desires or we go for the wrong things in life: we chose the wrong job or the wrong partner and are surprised when things do not work out. Perhaps this explains why Shakespeare’s Twelfth Night, which is all about deception and delusion, is still so popular today.

What sets KDC director Christopher Neil’s production apart, is it’s wonderful 1920s setting. The overtones of drugs, decadence and excess suit the play very well. This cut-above-the-usual amateur production also features a brilliant opening scene where all actors come on stage, and, like in a big finale, dance and generally make whoopee while the music plays on until they are stopped by the storm.

For many people, the plot will be familiar: when Viola is ship-racked in Illyria, she doesn’t know that her twin brother, Sebastian, has survived as well. Far away from home, she offers her services to the Orsino, Duke of Illyria, in disguise as a man named Cesario. On Orsino’s behalf she seeks the hand of the beautiful Countess Olivia, but Olivia refuses him. Instead Olivia falls in love with Viola/Cesario. Meanwhile, Olivia’s uncle, Sir Toby Belch, and members of her household play a trick on Malvolio, Olivia’s arrogant steward. They make him believe that Olivia is in love with him and he futilely strives to become Olivia’s husband. The confusion mounts up when Sebastian appears, but in the end all riddles are solved and the three couples come happily together.

Cathy Burnell lends Viola/Cesario a cherubic air, although her performance could have been stronger in parts. She is most convincing in the scene where she recognizes that Olivia has fallen in love with her. She smiles to herself not believing what an absurd situation her idea to disguise as a man has brought her.

Olivia, played by Petra Miller, brings a lady-like sense of poise to her role and does not even lose her temper when Viola refuses her offer of marriage. Only when Sir Toby Belch draws the sword against Viola, does she lose her reserve and show her true feelings.

Orsino, played by Duncan Saunders, is a reserved and charming duke, but when Viola/Cesario passionately tells him that women can love as men do, the necessary sense of physical attraction between them doesn’t quite come across.

Of all though, Lee Arnot shines as Malvolio. He proves himself to be a master of the pompous gesture and fairly steels the show in his yellow stockings. Lee first makes us laugh, and then arouses our sympathy (when he is on his knees begging Feste to bring him paper, ink and a candle to write his way out of his incarceration).

Duncan Moore makes a lively Sir Toby Belch; Maria, played by Shuna Beckett, is something of a clever spin doctor; Mike Millar’s Sebastian is passionate and well cast; and Morag Galloway’s Feste is a wonderful ukelele player.

Overall KDC’s production was quite mesmerising. As far as amateur theatre goes, this production company boasts some real talent. Watch this space.