Twelfth Night/Richard III, Apollo Theatre | Theatre reviews, news & interviews
Twelfth Night/Richard III, Apollo Theatre
Shakespeare makes a triumphant return to the West End with a little help from his friends
Something new is happening in the West End. Just up the road from Thriller and down a bit from Les Misérables a billboard the colour of weak tea (positively consumptive compared to the full-colour, neon assaults on either side) proclaims the arrival of Richard III and Twelfth Night. Shakespeare is back on Shaftesbury Avenue, and this time he means business – big, commercial business. How has this sleight of hand been achieved? Five words: Mark Rylance and Stephen Fry.
With national fervour still fresh and raw in this Olympic year, and audiences still coming down from the high of Branagh’s “Be not afeard…”, not even a glitzy musical and its X Factor stars could trump the appeal of two national treasures performing our national poet. So certain were the producers of success that the West End transfer was scheduled even before the two shows opened at the Globe Theatre. And they were right: director Tim Carroll and the irrepressible Rylance certainly know how to put on a Shakespearean show.
Rylance's usurper-king ha crystallised into a grinning, ingenuous villain
But what happens when you take Shakespeare out of The Globe – not so much a theatre as a philosophy of theatre? Good things, it seems. Every effort has been made to preserve or recreate those elements that make the Globe so special. There may not be space for groundlings but the cosy setup of Victorian Apollo places the front rows within easy reach of the performers. Crowns roll off the stage into their laps, actors appeal for shouts and cheers, and flanking the stage on both sides built-up wooden boxes place some audience members right amongst the action – receiving flowers from the amorous Richard or holding a hat for a drunken Sir Toby. It’s effortless and genial: panto for adults.
But it’s also deeply affecting. When Richard (Mark Rylance, pictured right) practises his deceit upon the crowds, feigning pious unwillingness to take the crown only to yield to their urgings, we find ourselves among their number, complicit in this hideous conspiracy and swayed by his blandishments even as we know them to be false. Don’t be fooled by the proscenium, it’s an anachronism to these authentic, all-male productions and one the cast dissolve by sheer force of will and a few tricks. Actors complete their pre-show preparations onstage, so you enter to find Stephen Fry in his shirt and britches having his hair brushed and his makeup applied, to hear Roger Lloyd Pack essaying a few vocal warm-ups.
Rylance is a given, and since his cross-dressing Olivia has already been seen at the Globe back in 2002 and his Richard III had his press outing back in July, all eyes were always going to be on Stephen Fry – making a brave return to the stage after famously doing a midnight flit from Simon Gray’s Cell Mates in 1995, when a negative review drove him to “contemplate suicide”. Malvolio is of course a character beset by psychological attack, but of a cruel rather than chemical nature, becoming the butt of a practical joke taken too far.
Subscribe to theartsdesk.com
Thank you for continuing to read our work on theartsdesk.com. For unlimited access to every article in its entirety, including our archive of more than 10,000 pieces, we're asking for £2.95 per month or £25 per year. We feel it's a very good deal, and hope you do too.
To take an annual subscription now simply click here.
And if you're looking for that extra gift for a friend or family member, why not treat them to a theartsdesk.com gift subscription?
A fast-moving, thoughtful Homer adaptation marks Mark Thomson's last production in charge of the Lyceum
New drama which explores brain science and female relationships is a bit too slight
Patricia Hodge is 70 years young as she globe-trots through musical adaptation of Graham Greene
Iconic musical sails into the West End
Jamie Lloyd's contemporary take is crowded, lurid and weightless
Ivo van Hove's lucid, searing distillation of five Shakespeare history plays
Four centuries on from the Bard's passing, director Tim Crouch picks his favourite death scenes
Sheridan Smith is the greatest star in a winning West End transfer
Annie Baker's microscopic epic leads theartsdesk's stage tips
Annie Baker makes the ordinary extraordinary
Spirited revival of the 1980s feminist classic is a bit shrill, yet also quietly moving
A Shakespeare 'problem play' made good