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Posts Tagged ‘Phoebe Fox’

This is the second show in three days which I experienced through headphones – you should definitely try the other one! https://danteordie.com/user-not-found – but they couldn’t be further apart. This one is a cold war thriller created by playwright Ella Hickson and sound magicians Ben & Max Ringham, and the form is they key to its success.

We look through glass into Hans & Anna’s East German apartment. They are hosting a party to celebrate Hans’ promotion, which his co-workers are all attending. Through our headphones we hear Anna (a fine performance from Phoebe Fox) and anything in close proximity – someone else speaking, water running, a cigarette lighting. Everything else is seen but not necessarily heard. The story that unfolds in just 65 minutes has many twists and turns and no-one is who they seem.

The effect of the glass and headphones is to add a layer of intrigue and increase the intensity of concentration; I wasn’t distracted at all throughout it, and I’m very easily distracted! It’s impossible to say more without spoiling it. Vicki Mortimer’s design, with an extraordinary attention to detail, is evocative of the place and the period, with Jon Clark’s lighting playing an important part and Ben & Max Ringham’s sound design absolutely crucial to the piece.

It’s a short evening, but its an original and very clever one, well staged by Natalie Abrahami.

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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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