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Show: Twelfth Night by Scena Mundi
Society: London (professional shows)
Venue: French Protestant Church, 8-9 Soho Square, London W1D 3QD
Credits: By Willam Shakespeare. Adapted and produced by Scena Mundi
Type: Sardines
Author: Chris Abbott
Performance Date: 23/03/2016
Twelfth Night
Chris Abbott | 24 Mar 2016 10:09am
Above: courtesy of Jessy Boon Cowler.
Performances in churches don’t always attract audiences; atmosphere yes, often good acoustics, but the seating and sightlines can be a trial, not to mention the lack of other facilities. True to form, the interesting interior of the French Protestant Church in Soho Square provides a suitable setting for Scena Mundi’s production of Twelfth Night, but hard pews for 2 hours 20 minutes tests the resolve of the audience.
Pleasingly, this talented cast manage to engage their audience and help them to overcome any physical discomfort (and the hymn book shelf provides a useful resting place for programme and glass of wine).
Scena Mundi say they are a classical company with a particular focus on text, performance, choreography and costume design, and all these aspects were evident in the production by founder Cecilia Dorland. Strongly cast, the production uses nine actors and some doubling to present a largely traditional take on this often-performed play.
Verse-speaking is good across the cast; it’s pleasing to attend a production in which every word is heard, and in which actors clearly understand everything they are saying.
Clare Brice is understandably more at home as a spirited Maria than as Sebastian, this being perhaps the first production to double those two parts. David Keogh makes the most of his few appearances as Fabian and Antonio, and Edward Fisher as a Puck-like Feste provides a nimble commentator and bridge to the audience.
Thomas Winsor’s Andrew Aguecheek is a full-blooded presentation of this sometimes tiresome character, and he works well with Jack Christie as an effective and energetic Toby Belch (if perhaps the youngest seen in recent times – more of a carousing university student than a drunken sot, but none the worse for that). These two actors carry much of the comedy ensuring the pace is kept up throughout in what is a production without any longeurs.
As Viola, the winsome Harriet Hare is clear, determined and gaives a performance of considerable subtlety, often opposite the slightly effete but very effective Orsino of Pip Brignall. Emma Hall’s Olivia is perhaps the vocal performance of the production, the slight catch in her voice adding to the success of her elegant portrayal despite a costume that appears to be unfinished (or maybe that was how it was meant to look).
For voice, movement and a remarkable ability for gurning, the performance to be remembered from the production is that by Martin Prest as Malvolio (and indeed as two other parts including a very effective simpering Priest). Never over-stepping the mark, Prest is an effective ensemble player but also manages to strike that difficult balance with Malvolio of making him ridiculous and funny but yet also attracting sympathy when spurned, despite the programme note suggesting this would not be the aim.
A strong cast then, under the sure directorial hand of Cecilia Dorland, though it is surprising that little use is made of the church building, apart from the very effective pulpit and organ chamber which Malvolio takes advantage of. With most of the action presented on a minimal set with two low rostra in the chancel area, it means the key performing space is not raised which leads to much leaping from one rostrum to the other in order to remain in view. That said, setpieces such as the letter scene are well placed. But if the company are to return it would help if the main playing area could be raised to afford the audience a better view.
This would also enable more appreciation of the inventive and appropriate costumes, presumably the work of Georgia Green although the programme is lacking in any list of the roles of the creative team and these have to be inferred from their biographies. More attention to the programme next time might be a good idea; not only are creative roles not listed, but at least one actor’s name is spelled wrongly and the design of placing dense text on coloured backgrounds makes it almost unreadable in daylight let alone in a dimly-lit church.
…But I would recommend you visit this Twelfth Night to see a young talented company who can speak Shakespeare’s text with wit and intelligence, just take a cushion.
- : admin
- : 23/03/2016