Mafia" mam ~ 3 " ' Dundee Rep. until Sat 20 Sep. then EEINAL CHORD

touring 0000 Paisley Arts Centre. 6

Sep. Traverse

People don't change allegiances in Theatre. Fri 26 Sep

love overnight. according to popular perception. and that‘s the problem with Twelfth Night. But actually. some folks are perfectly capable of this, sociopathic as it may seem. That Orsino should abruptly abandon his long and unrequited quest for the love of Olivia very suddenly in favour of Viola isn‘t really a problem. given that he's plainly a quite unstable man. The dark difficulties of this piece lie elsewhere. All the same. this is a banker for new artistic directors Dominic Hill and James Brining, because we all like to hear fine words on the infantile liberation that love . gives us. Lamp post: John Bett and John Buick ' . :. ' ‘. 1 xi .- The story will be familiar enough to .; v .. _ ,. you: the twin brother and sister (Mark sense of permanent surrealism, a Malvolio's (John Buick) treatment, l l . : f'wa Kane and Emily Pollet) wash up in a loss of identity and of the old and Antonio‘s (Stephen Docherty) . : :-- E .z‘ .. is: l' foreign land and, disguised as each‘s certainties. and this seems very abandonment . lrene MacDougall's ' a l : opposite sex. lead us to confusion relevant to our current world. Olivia emphasises the grief that this about sex and sexuality. The twist in This surrealism. as well as the character feels. but also. very subtly, Dominic Hill‘s production is that it decline of the old world. is how we are capable of using grief to doesn't aim for the usual holiday emphasised by Tom Piper‘s brilliant our best advantage. John Bett does camp, world gone temporarily mad set, a crumbling Edwardian interior. Sir Toby Belch, and that‘s no bad atmosphere. Nor does it particularly with walls painted like a Magritte sky thing, for all the mock-heroic gusto of emphasise the ‘l‘m in love with and shifting, falling piles of sand the character, so necessary to the someone of the same gender. oh God, emphasising change without play. is there in buckets. It‘s not a I must be gay‘ element, for after 30 resolution. This is important. because perfect production. as its first half is years of change in sexual much is left unresolved in this play if slower than it ought to be. but this is perceptions, surely we‘ve got over not Orsino’s (Tom McGovern) an evening full to the brim with ideas. that one by now. Instead. there's a instability, then the cruelty of (Steve Cramer)

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