This is the last article you can read this month
You can read more article this month
You can read more articles this month
Sorry your limit is up for this month
Reset on:
Please help support the Morning Star by subscribing here
Twelfth Night
Young Vic, London
KWAME KWEI-ARMAH opens his tenure as artistic director at the Young Vic with this highly successful musical adaptation of Twelfth Night that played in New York’s Central Park to glowing reviews.
It will not appeal to Shakespearian purists. The majority of the verse is replaced by Shaina Taub’s catchy musical score and the darker themes all but expunged but, running at 90 minutes and with a 30-strong local chorus, it's a joyous introduction to Shakespeare and a vibrant celebration of the Notting Hill community.
Set on the eve of the carnival, the street-party atmosphere is established from the outset as the cast, interacting with the arriving audience, populate both the auditorium and Robert Jones’s expansive, and brightly coloured street set.
Taub’s songs, performed by a five-piece band, effectively blend Shakespearean verse and contemporary dialogue and they range from Melissa Allen’s powerful and poignant love song as Feste to Gerard Carey’s show-stopping, top hat-and-cane number as pompous prat Malvolio.
Among the professional cast, Gabrielle Brooks’s Viola stands out. Although other roles comically skirt with the theme of sexual identity, her nuanced performance shows some of the angst related to self-identity in an increasingly troubled aspect of life.
Her subtle mannerisms when close to Rupert Young’s self-absorbed Orsino or when avoiding Natalie Dew’s sexually unrepressed Olivia embody some of Shakespeare’s blend of humour and sadness.
Directors Kwame Kwei-Armah and Oskar Eustis have set out to make this a festive celebration of life and love, with bright costumes, committed performances, stylish choreography and visual gags. Malvolio’s Segway transport and luminous yellow lycra outfit adds to the high-octane drive and has a packed audience immersed and delighted.
In his new role at the Young Vic, one might have expected a bleaker, state-of-the-nation play from the writer of Elmina’s Kitchen and Fix Up, but, with this large-scale musical, an explosion of colour and vitality which reflects and involves the diversity of the local community, he has remained true to the original aims of the theatre and made a vivid first impression.
Runs until November 17, box office: youngvic.org
