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Posts Tagged ‘Niky Wardley’

It’s a long way from my first introduction to Twelfth Night, for something that used to be called ‘O’ levels, to this – 50 years and 130 miles to be precise. This is the freshest production of this play I’ve seen since; it positively sparkles.

When Tamsin Greig was cast as Malvolio, I assumed it was just gender blind casting, but in fact she’s playing Malvolia; the character has had a sex change. This gives the attraction to Olivia another dimension altogether. In fact, one of the striking things about this production is the believable sexual frissons – between various combinations of Orsino, Olivia, Cesario (Viola) & Sebastian as well as Malvolia and Olivia. Another is the success of both the high comedy and the pathos in a production with an extraordinary attention to detail – visual, gestural, postural and linguistic. There are so may lovely touches.

The outstanding cast is high on established comic performers. Oliver Chris brings a humour to Orsino I’ve rarely seen. Tim McMullan and Daniel Rigby are as fine a double-act as Sir Toby Belch and Sir Andrew Aguecheek as you’ll find anywhere. Doon Mackichan’s take on Feste is delightful. Tamsin Greig creates a frumpy Malvolia dressed in black, with a bob hairstyle, that brings the house down and makes her humiliation all the more tragic. Tamara Lawrence and Daniel Ezra are both excellent as the shipwrecked twins and Phoebe Fox brings a cheekiness to Olivia. Somehow, Maria seems to play a much bigger role in the humiliation of Malvolia and is brilliantly played by Niky Wardley. The whole ensemble gels perfectly.

Soutra Gilmour’s design has a central feature which moves us between locations as it moves itself. There are cars, scooters and bikes and her costumes are witty and colourful. Though there are songs in the play, director Simon Godwin appears to put more emphasis on the music (as he did in The Beaux Stratagem) and Shelley Maxwell’s movement contributes a lot to heightening the humour of the piece. It all sits very comfortably on the Olivier stage.

It’s a while since I saw this play, so perhaps that added to my enjoyment of what is indeed a fine revival.

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A play about the no win-no fee compensation culture has been a long time coming. Playwright Nick Payne’s Constellations was one of the most original plays of recent years and one of last year’s big hits. The Donmar is a great, intimate space for new plays. My expectations were going to be difficult to live up to and so it was. They make the best of the material, but the material isn’t really good enough.

Barry and Andrew are no win-no fee merchants, though there is clear ethical blue water between them. Kevin, an old school chum of Andrew (married to his first lay) lures him into serial fake claims. One target decides to defend which, unusually in these cases, leads them to court. It becomes much more than a claim as the relationship between Barry and Andrew is strained to breaking point and the relationship between Andrew and Kevin’s wife is recalled.

In the first half, we’re in the solicitor’s offices and in (most of) the second half we’re in court – something I wasn’t expecting until I returned to the theatre after the interval to see the extraordinary transformation. The problem is that the issues are touched on but not fully explored, so the play lacks depth. I liked the introduction of personal stories, but again they are glimpses. It was often just too slow. Scott Pask’s designs are superbly realistic, though the configuration of the courtroom means some actors have their backs to you much of the time (a bit like a court, really!).

The performances are uniformly excellent. Daniel Mays & Nigel Lindsay’s characterisations of Andrew & Barry compensate in part for the writing; their relationship evolves satisfyingly. Marc Wootton is brilliant as Kevin, the chancer you love to hate but can’t help loving. Monica Dolan and Peter Forbes make delicious transformations from Kevin’s co-conspirators in the first half to barrister and judge in the second. Niky Wardley brings Kevin’s put-upon pregnant wife to life, complete with courtroom vomiting (!) and Joanna Griffin and Isabella Laughland’s cameos are terrific; the latter so good she gets a round of applause as she leaves the witness-box.

It felt like an unfinished pay to me; edited and rewritten I suspect it would be a much better play. As it is, it’s down to superlative performances to make the evening worthwhile.

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