Writer: William Shakespeare
Director: Gavin McAlinden
‘If music be the food of love, play on; Give me excess of it…,’ says Duke Orsino (Charles Worthington), moving his hips to the tune of a jukebox and summing up the very take of this adaptation. We’re in Duke’s Bar after all, an American joint complete with 70s outfits, spliffs, hip flasks and even the odd rendition of Mamma Mia. It’s an odd way of taking one of Shakespeare’s most comedic texts, but it often works. The Acting Gymnasium, a weekly creative performance workshop that trains actors, brings us a semi-professional but occasionally brilliant show of thespian talent.
Molly Hockham is a compelling Viola. Attempting to be honest in dishonesty, genuinely conflicted in her emotions towards the wooing of Olivia (Prilly Lee), Hockham is aided by the fact that her character is modelled the most closely on the play’s original. Helen Probert’s Malvolio is the prudish, manipulative and haughty old gent that he should be, and Probert’s understanding of how the character builds into the ridiculous villain of the piece is remarkable.
Unfortunately, the interpretation doesn’t always hold. If Olivia is to be the stylish, almost film-star persona of this adaptation and not the restrained, melancholy but wealthy countess in a deep vow of grief over her brother’s death seen in the original, then the reason why she is hiding herself away must be reconsidered. Likewise, Feste (the licensed fool), played by Gulin Langbroek, must be given better reasons to break out of Shakespearean language into Modern English. But one still cannot deny Langbroek’s stage presence nor her ability to poke fun.
The biggest trouble comes in the form of the movement pieces. Often, fight scenes could be cut altogether; unnecessary wandering about the stage could also be clipped and, most importantly, some of the use of props needs to be rethought entirely. When this production of Twelfth Night really comes off its wheels is when the actors are given free rein to express the character underneath; Malvolio reading Olivia’s letter is such a scene, and Sebastien, mistaken by the adoring Olivia for her lover, moving about the stage to a pop song is another.
It’s a fine piece of work, this production. It has a certain energy which its multi-national cast brings with joyous passion, humour and inventive spirit. But it can, it will and must go further.
Runs until 26 September 2026
