Sunday, 4 November 2018

Twelfth Night at the Young Vic, or, A Problem with Rewriting Shakespeare

Note: This is a review of the matinee performance on Saturday 27th October 2018.

This was my third Shakespeare in almost as many weeks, and the second to attempt a re-conception of the play (this time a version imported from New York City's Public Theater). In this case the action is cut down to 90 minutes, and much of the text is replaced by new songs with music and lyrics by Shaina Taub. This reimagining turns out to have many admirable qualities, which makes the flaws the more frustrating.

This adaptation mercifully keeps the plot intact and supported by a generally strong cast there are certain things directors Kwame Kwei Armah and Oskar Eustis manage better than any Twelfth Night I've seen. In particular, the double characters of Viola and Cesario, and convincingly portraying Cesario as a man. The idea that Viola is imitating her brother is clever, and it surprises me that this route doesn't occur to more directors. Gabriella Brooks is completely convincing in disguise, in a way that few Violas manage. The only snag here is one of those failings to think the whole piece through - the manner in which Viola is briefly portrayed at the very outset doesn't quite marry up with her later representation of herself - we're supposed to think of her as insecure and vulnerable, but that first appearance has a bit too much confidence about it for this to be wholly convincing.