Twelfth Night
Twelfth Night by William Shakespeare was directed by Jan Rae, with original music by Paul Grimwood. It was performed in the gardens of Bell House, on Saturday 13th July, Sunday 14th July,
Saturday 20th July and Sunday 21st July 2024.
Cast
Orsino, Duke of Illyria: Mitch Siddons
Valentine (attendant to Orsino): Lizzie Tippetts
Curio (attendants to Orsino): Imogen Ursell
Viola, a shipwrecked lady, later Cesario: Joanna Norman
Sea Captain: Kevin Edwards
Sir Toby Belch, Olivia’s uncle: Pete Tilly
Maria, Olivia’s lady-in-waiting: Meghali Pandey
Sir Andrew Aguecheek, suitor to Olivia: Matt Owen
Feste, a court jester: Mark Kelleher
Olivia, a countess: Funke Adesemoye
Malvolio, Olivia’s steward: Roger Orr
Sebastian, Viola’s twin brother: Jude Marriott
Antonio, a sailor and friend to Sebastian: Callum Brunton
Fabian, a member of Olivia’s household: Gill Daly
Officers: Lizzie Tippetts, Kevin Edwards
Priest: Kevin Edwards
Creatives
Fight Director: Steve Borrie
Stage Management: Tracy Brook, Emily Lamm, Lizzie Tippetts and Imogen Ursell
Wardrobe: Judy Douglas
Hair and make-up: Denise Biffin
Box Office: Eleanor Orr
Photography: Philip Gammon
Poster Design: Clarisse Hassan
Front of House: Paul Sykes & Séverine Powell
assisted by Members of the Society and Bell House Volunteers
Director: Jan Rae
Musical Director/Composer: Paul Grimwood
Twelfth Night Review
By Joanna Bateson-Hill
I have never truly understood why "Twelfth Night" earned its title. It should be called "Twinning: A Complicated Guide to Falling in Love," but I suppose that’s not as catchy. What I do understand and thoroughly enjoy, however, is the adventure Jan Rae’s Edwardian set comedy takes us on.
We open with the Shakespeare classic, "If music be the food of love, play on," delivered by Mitch Siddons as the love-lorn, salt-and-pepper Count Orsino. Mitch brings rhythm, conviction, and grounded physicality to the stage and garden, blending the authority of a duke with the bumbling nature of a suitor whose ego simply won't take no for an answer. He is complemented by Joanna Norman’s Viola, who blooms in the role from the start, navigating Viola’s rollercoaster of grief, lust, love, and joy with clarity and fluidity. The attraction between Orsino and Viola shines throughout and during the final dance, I’m half-tempted to shout, "KISS!" Alas, they do not, and I shall be lodging a formal complaint posthaste.
Joanna also sparks well with Funke Adesemoye’s Olivia, whose regal presence and demeanour gives the impression she could cut you down to size in three seconds flat. Funke places a veil of class and style over Olivia’s vulnerabilities, boldly commanding everything from her lines, her clothes and her servants, all while channelling Audrey Hepburn chic in a wonderful peacock hat. This is evident in the verbal tennis matches Olivia and Viola exchange, with their words batting back and forth and landing exactly where they started with. Nil points for either player but a round of applause for both actors.
Completing the main four, and twinning with his sister Viola in fabulous matching outfits, is Jude Marriott’s Sebastian. His swashbuckling chivalry exudes energy, charm, and believability. His sudden desire to marry a woman he just met is highly plausible given their evident mutual attraction and desire. Exchanging Eros with Agape, Viola and Sebastian turn on the joy and delight for their sibling reunion, nearly bringing a tear to even a stone-hearted eye. You can tell the considerable effort has been made by all four actors and director to ensure that the love rhombus between these characters is enjoyable, confusing and intimate and humorous.
Bringing mischief to the ensemble and Olivia’s household is Peter Tilly’s Sir Toby Belch, who leads a quarrelsome quartet: lady-in-waiting Maria (Meghali Pandey), Sir Andrew Aguecheek (Matt Owens), and Fabian the Gardener (Gill Daly). Marauding together, they engage in dastardly deeds, questionable sword fights, (expertly choreographed by Steve Borrie) and some innocent light assault and torture. Pete is convincingly entertaining and disturbing as he shifts from harmless high jinks to sadism, all in the name of ‘fun’ and revenge. Matt excels as a man-child who can’t seem to navigate a door, sword, or his elbow without direction, while Meghali, as Maria, oscillates between flirtatious wit and also as a woman who could ruin your life with her ruthless cunning. Props to the stalwart Gill’s Fabian for being adept at hiding in bushes and sporting excellent accents.
Into this chaotic mix is thrown the provocative and serenading Feste the Fool, played by Mark Kelleher who festers in taunting and corrupting his companions, dabbling in spot of verbal and psychological abuse whilst delivering some sad and lovely music I’d probably listen to on Spotify. In contrast, Roger Orr’s Malvolio manages to descend from stubborn smugness into pitiable helplessness. His portrayal effectively captures a man whose innermost vulnerabilities are exposed and exploited and highlights the tragedy of a character who inspires and deserves both sympathy and ridicule.
Further compliments the whole ensemble including bromance inducing sea voyager Callum Brunton as a hot-headed Antonio, Kevin Edwards as kindly sea captain and bewildered priest, and Lizzie Tippets and Imogen Ursell for their excellent and secretive stage hands. It would seem foolish not to mention the truly beautiful costumes by Judy Douglas and not forgetting of course the melodious sounds of the keyboard composed by Paul Grimwood.
To summarise, some are born great, some achieve greatness, and some have greatness thrust upon them; others spend three months in rehearsals and come out with a great and truly entertaining play on the other side.
