Twelfth Night – Theatre at the Tabard review

Image: Jamie Newall as Sir Andrew Aguecheek and Rez Kabir as Sir Toby Belch

An abridged Twelfth Night that respects the language while courting new audiences

It’s time for Shakespeare at the Tabard Theatre as they welcome Chronicle Theatre Company for a run of a stripped down Twelfth Night, directed by the highly respected and Olivier Award winning Bill Alexander.

Alexander has created an eight-character abridged version of the play; running just 70 minutes, it neatly concentrates on the main action of the piece while remaining respectful of the language and essence of the original.

Walking into the theatre we are greeted with a glowing stage which feels positively Elysian: a simple set of three arches and a few high stools but lit luminously by Rajiv Pattani.

The subtle tones of Sandy Denny on the soundtrack suggest English pastoral but as the music dissolves into haunting woodwind, we learn we are in Illyria (bet you don’t know where that is/was).

We meet Viola, one of a pair of twins, separated from her brother Sebastian when they were shipwrecked and now alone and in a foreign land. Martha Ibbotson’s Viola is convincingly distraught, assuming her twin to be dead.

Image: Rez Kabir, Mary Chater as Maria and Jamie Newall

Forced to disguise herself as a boy, she finds work attending to the Duke Orsino, played by Jonny Wiles as an unkempt, rather louche young aristocrat in a shiny pink shirt and looking as if he has stepped out of a nearby rave.

Orsino uses Viola (now calling herself Cesario) to woo the object of his affection, Olivia who, in her turn finds herself somewhat under the spell of Viola/Casario while Viola is secretly and none too subtly falling for the Duke herself. You get the idea.

Many shenanigans follow. It is to the company’s credit that most of what follows fits together and makes sense although asking Ibbotson to play her twin brother is a big ask in a play that centres on disguises and deception, and the two roles probably demand a little more in the way of visual signals rather than just the way that one of them leaves their shirt half untucked.

Ibbotson does a fine job but those who are not so familiar with the play may find themselves needing a minute or two for the penny to drop.

Twelfth Night is one of Shakespeare’s comedies, but that description may be rather overdoing it, although one or two of the actors, in particular Jamie Newall as the timid Sir Andrew Aguecheek and John McAndrew as Malvolio do their utmost to wring some laughs out of their roles.

McAndrew clearly relishes his moment of madness as he sheds his staid demeanour in a foolish pursuit of love and Newall is a strong presence, his first appearance has him puzzlingly carrying a cycling helmet and with a bicycle clip on one leg, but he bumbles and blusters satisfyingly.

Image: Martha Ibbotson as Viola and Jonny Wiles as Orsino.

It all looks rather lovely though. The set is unassuming but makes good use of the width of the Tabard stage.

Designer Lucy Fowler also provides clever costume designs that express character through their colour and cut. Toby Belch’s cream suit, Malvolio’s sober black civil service inspired business look and Olivia’s elegant dresses all complement the overall picture.

This is a worthy enterprise, but for me, all a little bit inconsequential. That said, there are some enjoyable performances from a cast that understands the piece well.

This is the first Shakespeare at the Tabard for some time and is straight enough not to upset the purists while inventive enough to pull in a new audience, just not really very funny.

Twelfth Night runs to 18 October and plays most nights, as well as two matinees  each week.

Book tickets: Twelfth Night

Simon Thomsett has worked in the professional theatre for a number of years. He started out as a stage manager and technician then became a venue director and producer, notably at the Hackney Empire, Fairfield Halls and most recently the New Victoria Theatre in Woking.

He now works as a consultant and on some small scale producing projects. He is a Chiswick resident and a passionate advocate for great theatre.