Review: TWELFTH NIGHT at the Masque Theatre Boasts an Ensemble Cast of Dreams

TWELFTH NIGHT is, without a doubt, my favourite of all Shakespeare’s plays. It is, probably for this reason, also the Shakespeare play I have had the honour of watching the most times. Despite this, I have never emerged from this play feeling like I have seen a repeat of the same production. There are, indeed, seemingly infinite ways in which one can stage, re-imagine and adapt Shakespeare productions, rendering them fresh every time. This production of TWELFTH NIGHT, directed by Barbara Basel, presents a take that I have never seen before – and which I love. This adaptation of TWELFTH NIGHT is set within the cabaret culture of 1930s Weimar Germany. This works really well, especially because it is so subtly done. There are no German accents and there are no lederhosen or bratwurst in sight. However, the romance and tomfoolery of the action translates seamlessly to this locale and proves, yet again, that Shakespeare can be, and indeed is, still relevant – and belongs on our stages.

To delve into the well-known plot feels unnecessary. I refresh the reader’s memory with my brother’s synopsis: ‘Confusion, girl dresses up as boy, twins, and everyone is all over the show’. Honestly, it’s not a bad summary and, really, is all you need to know.

Richard Higgs’ set design is a dream: we observe the courts of Count Orsino and Countess Olivia (and surrounds) through the lens of the elegant Club Illyria. This is what cements the opulence of the 1920s era for our audience.  

The cast, comprising eleven (as well as two tango dancers), is outstanding. I feel it unfair to mention one actor without mentioning the rest – this is how superb each member of the cast is. One of my favourites is Hannah Molyneux (the Fool/Feste). Her costume is amazing, her a capella singing is glorious and her comedic timing is superb. As her stage debut, I hope to see a lot more of her.

Taryn Basel makes for a subtle Viola/Cesario. I could listen to Basel recite iambic pentameter all day. The same can be said for Codey Ashton whose take on Sebastian is quieter and gentler than others I have seen – I am a big fan of this portrayal. Basel and Ashton are so alike in looks, mannerisms, characterisation and even in their embodiment of their characters as earnest and, at times, delightfully shy. They make for the perfect set of twins.

And then there is, of course, Malvolio. And what a wonderful Malvolio Matthew Kingwill makes: hilarious, pompous, supercilious and ridiculous. I love that he has given the character a signature quirk. Kingwill plays Malvolio as he should be played: in a way which leads the audience simultaneously to abhor him and to sympathise with him.

Harmonie Mbunga as Sir Andrew Aguecheek is out of this world. She too makes her debut in this play and she is incredible. She plays Sir Andrew with conviction and her believability in this male role is continuous throughout the play from the way she carries herself to the register of her voice. Her timing is great.

Kathryn Griffiths is a fabulous Maria: witty, beguiling, coquettish, with a sharp tongue. The rest of the cast are just as wonderful: Wayne Ronne as Count Orsino opens the play strongly. I enjoyed seeing him in this commandeering role.  Tami Schrire is perfect as Countess Olivia – her reactions are as delicious to observe as the delivery of her actual lines. She is electric onstage. Yuri Behari-Leak as Sir Toby is such fun to watch and plays the villainous drunk with aplomb and lots of laughs. Thomas Bowman makes a lovely, devoted Antonio and Andy Rabagliati is a mischievous Curio/Fabian.

The one qualm I have with this show was its length. Spanning three hours with interval, viewers will have to forego an early bedtime (don’t get me wrong – it’s worth it). Granted, Shakespeare plays are lengthy and I am all for performing them in their totality. But there are places every now and then when the energy dips or when the pacing could be ramped up a bit.

That being said, this production is incredible and the tight-knit cast work really well together, creating a version of TWELFTH NIGHT of which the playwright would most certainly be proud.

TWELFTH NIGHT runs from 5 to 15 July. Tickets range between R100 and R200 and are available via Quicket. Discounted block bookings of more than ten tickets can be made by emailing programming@themasque.co.za .

Performance times are as follows:

5, 6, 7, 12, 13 and 14 July at 20:00

8 and 15 July at 14:30

8 and 15 July at 18:30.

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