Twelfth Night – All Saints Reviews

Twelfth night is a tale of romance, mistaken identity, love, humour and confusion. With original live music and fantastic vocals, Twelfth Night has elements of a musical. Directed by Juliet Forster and written by William Shakespeare, Twelfth Night is a classic.

 It begins with the illusion of a violent storm and this is shown using a new element that has been intorduced to thatre, multimedia. Identical twins Viola and Sebastian, are separated in the storm and are washed onto the the shores of Illyria. Viola then disguises herself as as a boy and this results in serving the eye catching Duke, Orsino and then falls for him. Viola cleverly declares to the audience, “What will become of this?” To the audience her fate is unknown and as the story unravells, it becomes clear. However, Orsino only has eyes for Lady Olivia and sends Viola to woo her on his behalf, she then falls for Viola, unknowing the true identity that lies beneath the masculine looking  exterior. 

 To soften the play, Shakespeare used his sly wit in the form of his characters. He uses an irishman who loves to sing, a serious, eager to please welshman,a dim knight, a talented Violinist, a loud drunk and a giddy housekeeper. 

 With exceptional acting, Twelfth Night is of best quality and easy to watch. The set is cleverly used and the music adds a little something extra. Twelfth Night is a lighthearted play full of humour and brilliant acting, it is a definate one to watch. 

 Aimee Taylor

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The admired Shakespearian play, Twelfth Night, is brought once again to the theatre stage. Romance, comedy and deception all play their part in making this play a wonder to watch. We follow the story of young Viola, who is shipwrecked and separated from her twin brother after being washed ashore from a terrible storm. Disguising herself as a boy, she sets out working in the Duke’s court, but things become complicated when a certain Lady Olivia takes third base in the love triangle. 

Firstly, congratulations must be made to the talented director Juliet Forster, for taking on such a popular performance and making it her own. The dreamlike perception was successfully achieved with the setting, eccentric characters and the emotions portrayed. Wonderful stage use and almost perfect acting are praise for both director and performers.

The woman of the night was most defiantly Danielle King, who gave a flawless performance as Viola. Speech was masterfully spoken with such a natural conviction, and her acting skills were simply stunning; a credit to Shakespeare.

In particular, the attention to detail was very remarkable; the stage being equipped with working shower, just for starters. But it was the circumference of real sand that impressed the most and how it was delicately used in the performance. Also, the setting was practical yet beautifully presented and in addition to the lighting, the stage was set alight with realistic sunsets. 

Comedy was the plays main calling with laughs and sniggers making frequent appearances. A hilarious hiding sequence and eccentric comic characters were cause enough for hysterics from the audience. Finally, the live musicians throughout brought a whole new feel to the play. A violin, flute and ukelele are all you need to create atmosphere and musical comedy moments. Live singing also took part, mainly from Feste, who’s singing from he heart reflects on all the other characters, accentuating the emotion on stage. 

Picking at the negative, at the start of the performance it was very easy to get lost. Not knowing who’s who or what’s what. But after a while you become engrossed with the story and the Shakespeare translator in your brain kicks in, so that now you understand where it’s going

Overall, a beautifully entrancing version of Shakespeare’s Twelfth Night; perfect for fans or anyone looking for cheerful and romantic show. Skilled acting and a wonderful atmosphere are just what is needed for a great night out.  Showing from Saturday 25^th April to Saturday 16^th May, day and night, don’t miss out.                 

Or what you will…             

 Zoe Dziemianko

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Twelfth night is a Shakespeare play about a twin brother and sister who get washed up and separated on an island. In this play the sister, who is called Viola, dresses up as a boy because in those times it was bad for a girl to wonder around alone. As the play goes on viola starts to fall in love with Orsino, the duke of the Illyria, who Viola works for. At this point Countess Olivia has fallen in love with Viola because she looks like her brother Sebastian. 

In Twelfth night I personally enjoyed the parts with sir tony Belch (played by Blair Plant), Sir Andrew Aguecheek (Paul Westwood), Malvino (Dick Bradnum) and Feste (Colm Gormley) in because they made me laugh and they made the play exiting.

I think all of the actors were very good for what they did and I could see most of them doing bigger things. Feste (Colm Gormley) had a very good singing voice and Fabian (Ian Harris) and curio (Dan Willis) were very good at the instruments they played. The actors in this play were very good at showing emotions and acting very seriously and dramatic.

In the play some of the actors were doing Elizabethan language and others were sometimes sounding too modern.

I would recommend twelfth night to people 13 and over because you need to be able to understand the language and how they speak however this play was, in my opinion, very easy to follow and understand.

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The production of Twelfth Night at York Theatre Royal is a resounding success and triumphantly pulls off the difficult feat of making this well known classic play fresh and original.

The play got off to an exciting start with a vivid and unusual representation of the shipwreck which made the audience feel part of the action through the use of film projection. It was a risky idea that could have undermined sense of theatre but thanks to the great music and choreography it was a fantastic success, plunging the audience straight into the world of the shipwrecked Viola. 

The acting throughout the play was superb. Danielle King gave a very compelling performance as Viola, whose headstrong will and brilliant impersonation skills won the audience’s heart.  Sam Hazeldine as the Duke captured the day dreaming quality of Orsino wonderfully well. Blair Plant and Paul Westwood were Sir Toby Belch and Sir Andrew Aguecheek respectively and these essentially comic roles were played with exquisite lightness and style. The comedy was heightened very effectively throughout the play by the stage direction and I defy anyone not to laugh out loud at the spectacle of the eccentric clergyman Master Topaz visiting Malvolio when he was thought to be mad, Sir Toby Belch and his friends watching Malvolio opening his ‘letter’ and of course, at Viola spying on the Duke taking a shower. Malvolio’s vanity and absurdity were splendidly evoked by Dick Bradnum and I especially enjoyed seeing him admire himself using a spoon as a mirror. Olivia was brought to life by Jade Anouka and the way her dress gradually brightened up with pink ribbons as her mood lightened showed an attention to detail in costume that is reflected in every other aspect of this production.

The set, with trapdoors, columns and swing was clearly thought out and used with flair and ingenuity that added to the interest of the action.

It is hard to identify all the ingredients that were combined so successfully to create such a magical performance. One thing is certain however: that it is a winning formula that will have the audience spellbound from start to finish. 

I’d give it 5 stars and I would recommend it to the whole family, however some members might find it a bit confusing as the speech is difficult to follow in certian places, but definitely a family-friendly performance

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Park swings, cross gartered socks and modern day showers; this play has everything.

The story begins with a shipwreck where twin brother Sebastian (Jack Ashton) and sister Viola (Danielle King) are separated in a storm, which is demonstrated perfectly with a miniature film being projected onto an angry sail. Unsuspecting Duke Orsino (Sam Hazeldine) employs Cesario to tell Lady Olivia (Jade Anouka) his love for her. Little does he know Cesario is actually Viola dressed as a man and she is in love with him. Set on making a fool out of Malvolio (Dick Bradnum) – Olivia’s welsh steward, in response to him turning his nose up at them, Sir Toby Belch (Blair Plant) takes advantage of Malvolio’s love for Olivia. This results in getting him dressed up in yellow cross-gartered socks and a rather manic smile on his face, much to Olivia’s distaste and Sir Toby Belch, Sir Andrew Augecheek (Paul Westwood) and Maria’s (Jacqueline Wood) delight. 

But poor Olivia doesn’t realise Viola’s disguise and falls in love with Cesario, which complicates things a bit more but is great fun to watch as this unconventional love triangle evolves. The trapdoors in the stage are put to good use during this play, keeping certain ale bottles hidden and even the odd prisoner. Lady Olivia is played well with great scenes on a swing, which occupies half of the stage whilst the rest is as an old gym, complete with wall bars and a vaulting horse. It is strange how something as simple as lighting can change the mood of the play, taking it from the dead of night to early afternoon. However, this Twelfth Night is not without emotional intensity but it is lightened with superb comedy. Another thing I liked about this play was the Edwardian style costumes but also the added element of period style music which I haven’t encountered in any Shakespearean plays before. 

This comedy is suitable for all ages, you can laugh at it on lots of different levels at the same time, but it can be hard to get into as it is full on Shakespearean language from the start. It starts with a conditional clause for goodness’ sake! In the first half it is very slow paced, the detail immaculate and everything is set out perfectly but in the second half it picks up the pace a little and maybe loses a little of its magic. But it doesn’t matter a great deal, this Twelfth Night is full of charm and wonder; Juliet Forster (Director) deserves every praise, she has envisioned the play beautifully. 

Vanessa Rhodes Bernays,

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“Twelfth Night”, one of Shakespeare’s most musical plays, was brought to the heart of York. Directed perfectly by Juliet Forster, every aspect of this performance was utterly magical.

Olivia, heiress of the enchanting, fictious village of Illyria, is mourning for her brother. Showing her stubborn attitude, she refuses to let Duke Orsino pay court to her.Malvolio, her steward rebukes her Uncle Sir Toby Belch.Sir Andrew is persuading Olivia to marry him however, amongst all this madness, even more occurs in this tiny village. Meanwhile, a ship is wrecked and the young, independent Viola is sadly separated from her twin Brother Sebastian. She thinks he is dead and foolishly disguises herself as a man named “Cesario”. “Cesario” serves duke Orsino, and the duke finds this a way to plead his suit for his one true love, Olivia.

The stage was very compact, but well thought out, suiting each scene perfectly. As the lights dimmed, a terrible storm blew two very talented actors Jack Ashton (playing Sebastian) and mark Theodore (Antonio) onto the stage. The two ended up pulling out boats sail from the set, while the magnificent lighting created a tense atmosphere, showing the rain and thunder of the angry sea. When the boats sail was ready, a video was portrayed onto the sail using over-head projection, showing new multi-media skills. It was unbelievable couldn’t imagine this amount of well-filmed video and effect on stage.

The singing and music was very funny! Ian Harris (Fabian) played his violin fluently and smooth as well as Dan Willis (Curio) playing the flute. However, a comedy twist was about with Feste (Colm GVormley) with his witty Irish singing and playing of the Ukulele! Another thing I enjoyed was the comedy. Jacqueline Wood (Maria) and Dick Brandnum (Malvolio) were the Shakespearean Laurel and Hardy, showing thoughtful, original, witty humour!

Unfortunately, I expected modern day language in stead of Shakespearan.However, it did help me familiarise with the language used in Old England. Also, even though the humour was impeccable, some of it was aimed at adults.

This would be recommended to adults as the humour and language used would make more sense to them rather than children! I would give this a well-deserved…

9.5 out of 10!

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The Shakespearian masterpiece, Twelfth Night, which, as many people will agree with me, is expertly re-created by Juliet Forster and the cast, on all accounts this a must see production as they transport us to the seemingly dream word of Illyria extremely well. Here we find many colourful characters and their problems in their lives. Countess Olivia (Jade Anouka) who mourns for her brother, Duke Orsino (Sam Hazeldine) who pays page to Olivia even though she refuses, Malvolio (Dick Bradnum) her trusted steward who secretly loves her but dares not show it, Sir Andrew (Paul Westwood) her suitor who loves Olivia and pays her uncle Sir Toby (Blair Plant) to persuade her to marry him, not knowing that Sir Toby is tricking him out of his money, Viola (Danielle King) who pretends to be a man named Cesario who is page to Duke Orsino. Viola, in secret loves him but is worried that if she shows him her true self he won’t love her. Viola also knows that Countess Olivia, who both Orsino and Andrew love, loves her. Not knowing that she is a girl and not a boy. What Viola does not know is that her twin brother, Sebastian (Jack Ashton), who she thinks is dead, is in Illyria with his friend (Mark Theodore) the sea captain.

Our story starts with a shipwreck. The young noblewoman Viola is separated from her twin brother. Taking him for dead she travels to where Duke Orsino of Illyria lives and, disguising herself as a man named ‘Cessaro’ she serves him as a page and is told to deliver a message to plead his suit to Countess Olivia, she refuses but is attracted to ‘Cessaro’. Meanwhile Olivia’s steward Malvolio criticizes Sir Toby (Olivia’s uncle) for partying in the night with his friends Sir Andrew, Fabian (Ian Harris) and Feste (Colm Gormley). Unhappy with how Malvolio acts towards them Maria (Jaqueline Wood), Olivia’s maid, and the others forge a love letter to Malvolio from Olivia saying that she would like him to woo her wearing yellow stockings. Malvolio believes that his wishes have been granted as he reads the letter so he follows the letter and is locked up as a madman. Meanwhile Sir Arthur, who is jealous of Olivia’s interest in ‘Cesario’, reluctantly challenges him to a duel. Cesario, who is just as reluctant as Sir Arthur to duel, half-heartedly accepts. In the midst of the duel Antonio bursts in and breaks it up, calling Viola Sebastian and pleading for help in his trial as he is arrested by a nearby officer and dragged off stage. Sebastian is now confused with ‘Cesaro’. When Sebastian fights Sir Toby and Sir Andrew they are stunned when he fights back and injures them both. Later Sebastian is amazed when Olivia calls him ‘Cesaro’ and flirts with him. Sir Toby, Sir Andrew and Maria ask Feste, Olivia’s jester, to tease Malvolio with them and he pleads to deliver an abject letter to Olivia which, of course they refuse to deliver. 

I would recommend this play to anyone who has seen and enjoyed other Shakespearian productions or have seen other productions of Twelfth Night or has read Twelfth Night. Or to anyone who enjoys Shakespeare’s works or anyone above the age of about twenty-five. I would give this production a very well deserved four star rating

Edward Morrison

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Twelfth Night is a romantic comedy set in Illyria where people are judged before they are known. 

In the play this is used with a brother and sister. 

The sister and the brother are separated in a ship wreck. 

The sister (Viola) wakes the next morning on a beach and decides to get a job to earn a living. She eventually finds one as a messenger, but unfortunately only men are employed for this role.

 This is when Viola dresses up like a man but unbeknown to her she looks exactly like her brother! This is when the duke sends Viola to see the countess to tell her that he loves her. However, the countess falls in love with Viola instead and things go all wrong. 

I really like reading and listening to Shakespeare’s books but unfortunately this play was not for me. 

It may be because I’m only twelve and didn’t understand what they were doing in all of the scenes, or it may be that the old English they were speaking was a bit confusing and therefore I found the play to be a bit too long.   

It could be re-written in modern English for a younger audience.

In conclusion, I think it is a good play for an adult but I wouldn’t suggest sending a child to see it.  I would give this play three and a half stars out of five.

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Twelfth Night – Reviews

Read the reviews of Twelfth Night below or alternately leave your own review in the comments section at the bottom of the page!

THE STAGE – REVIEW by Kevin Berry
Shakespeare’s tale of shipwrecked twins and romantic confusion is given sublime treatment by a young cast and a young creative team. Seasoned Shakespeare watchers might consider this production amongst the very best Twelfth Nights they have seen. This reviewer certainly does. 

There is a deliciously dreamy atmosphere and exquisitely played music. One side of the stage is a gymnasium, with wall bars and a vaulting horse, the other has part of a colonnade. Gentle shades of brown and cream are lit as if by a waking sun. Costumes are early Edwardian, with big boots where necessary. The stage is set for romance and mischief.

Danielle King as Viola and Jacqueline Wood as Maria, stand out in a cast brimming with talent. They each move so well, they all move so well. King is assured and resourceful, sharing the plot’s confusions with the audience. Her fellow actors are visibly responding to the strength and emotion in her performance. When she voices her feelings her voice thrills. 

Wood’s conniving servant girl steers the mischievous scheming with a smirk in her heart. She dominates the excellently played Toby Belch and Andrew Aguecheek, Blair Plant and Paul Westwood. The resulting comic antics are fun and fresh, cleverly inventive and played with admirable skill. They are something more than broad farce.

Director Juliet Forster has this Twelfth Night beautifully poised. The exact degree of sadness, the exact degree of regret. She clearly knows this play inside out. She has a deserved triumph on her hands.

Twelfth Night – Director’s Blog

Juliet Forster

Eight of the cast come together for the first week of rehearsals, the other four will join us next week. The staggered start is good in that it makes the best use of everyone’s time, and allows me to concentrate just on certain characters in more detail, and on certain elements of the production, rather than being faced with everything at once. However, it does mean that we won’t have all the voices for the first readthrough, and this is further complicated by one of my first wave of actors arriving in York and contracting food poisoning from a dodgy takeaway on the first night… Welcome to York.

So we have seven cast members on the first day, we meet, have a look at the theatre space then head down the road to the rehearsal rooms. After some general chat and introductions we look at the model box and talk about the design for this production. I explain that for me Twelfth Night is a play about dreams and fantasy – all the characters are wishing for something, and the theme of wish fulfilment is clear even in the play’s subtitle – What You Will – and that there is something in the play’s very nature, in it’s construction, that feels quite dream like, and as such I wanted to set the play in a dreamscape – something non-naturalistic, but not so abstract as to not have its own internal logic. The result is elements of Olivia and Orsino’s personality colliding into one another and washed up on a sandy shore. Something resembling a delicate, but broken gilded bird cage complete with swing takes up one side of the stage, whilst the masculine, athletic bars and equipment of a Victorian gym encircle the other side. A string on lanterns cuts across the stage as if it has landed there after a storm. I also show them a sail which will be in at the top of the show, on which we will project a film sequence depicting the twins arrival and separation from each other in the storm and shipwreck. We briefly discuss costumes, which they will see designs for the following day, and I explain that we are using accents of the Victorian era in the design, because of its association with slightly repressive shapes, that works well with the theme of repressed desires, but that it is not meant to be set in any specific time or place. The cast seem excited and inspired by the set, so we get going with a warm-up game then sit down to read the text. Hearing your cast read the script for the first time is always both an exciting and nerve-wracking time, as the stakes feel quite high – “have I got the casting right?” “will the different voices sound right together?” etc., but even though we are several voices short, the read-through is a joy and I start to feel excited at the prospect of the next few weeks. I set them a bit of homework and that concludes day 1.

 

On day 2 we are joined by Actor number 8, if not entirely recovered, at least well enough to make a gentle start on things, and he is anxious not to miss more rehearsals. The actors come with the four lists I asked them to draw up the night before, these are based on Stanislavski’s approach to character, where each actor goes through the play to draw up a list of a) Facts b) Things I Say About Myself c) Things I Say About Others d) Things Others Say About Me. We use these as a basis for discussion to understand the characters and their journey through the play, and to make suppositions as to what we think they might be like. This process is important particularly when tackling such a well-known play where we already come with an impression of who these characters are, but we need to strip things back and discover it for ourselves, otherwise we can end up creating quite a generalised characterisation based on other productions we’ve seen, things we’ve read, heard etc. Amazingly, we spend all day on this, and yet we also quickly realise that we could spend a day on each character. It is really useful, and fascinating, and highlights where there are areas of backstory that we need to decide on to inform certain relationships and points in the play. We finish with an imaginative journey exercise where the actors get to travel to Illyria and connect imaginatively with the world and the characters – this works well and the feedback is really fascinating – it is really interesting how the imagination makes links and connections to things subconsciously, and some  revealing discoveries about the characters are made. We all feel ready to get going on the text now.

 

The following day, our Voice and Verse Coach takes the warm-up and encourages the cast to find the clues to their characters in the text, and this seems to set the actors up well to get going with rehearsing the play. We take each scene at a time, reading it first, and then going through a second time putting it into our own words – which is a very useful process, but also provokes a lot of laughter – before we put it on its feet an work it lightly. The rest of the week seems to fly by, and the scenes seem to come flying off the page, we are enjoying the balance between beauty and the pain of longing, and the raucous bawdiness of drunken scenes, and I feel I could happily spend the next four weeks just listening to Feste singing, but we do still have a job to do! At the end of the week we run together what we have done, and it’s good, it’s a great start, and I feel that we can now go no further without our other four actors, so we call it a day and look forward to Monday…