The Stage

Twelfth Night

Published Friday 20 August 2004 at 13:15 by John Thaxter

This charmless production may work a treat when seen across a greensward but within Holland Park’s tented temple to operatic finesse, its coarseness detracts from both the classic setting and the Bard’s romantic intentions.

In a bowler hat, Viola has the pert impudence of the late Lupino Lane’s Bill Snibson. Her braying brother Sebastian would not look out of place in a Carry On movie, while Malvolio’s letter scene and subsequent downfall offer cues for shouting and manic hysteria all round - but with ten times more laughter onstage than in the audience.

The evening has its compensations. Rebecca Applin’s exquisite settings for the songs deserve a longer life than this production. They give Wayne Sleep’s melancholy Feste several opportunities for enchanting vocals to a pre-recorded music track. He also delights us with his deft entr’acte tap dance to Abby Leamon’s flute accompaniment. Finally the music swells thrillingly for the walk-down, as the entire cast joins Sleep in a choral version of ‘Hey ho, the wind and the rain’.

Acting honours go to Jay Simon for a dangerously dashing Orsino, speaking familiar lines resonantly, as if newly minted. I also warmed to Penny Woodman’s doughty young Olivia, shaping up as Mistress of the Manor but not ashamed to show her sexy side.

A last word for Christopher Robert - a pro to his fingertips, whose Toby Belch is a master-class in the art of playing a sober drunk, amused by his ability to deliver ancient jokes without bumping into the furniture.