6 – 7 February
Christmas is done, and the winter lingers like that one drunk friend at the party who refuses to leave. It’s time for the warmth and absurdity of Twelfth Night, announced by Feste in the opening of the show as the “rudest and silliest of Shakespeare’s plays”.
His and Hers theatre company brings an important message of inclusivity to the stage. The performance itself is a fundraiser for 2BU Somerset, a charity providing specialist support for LGBTQ+ 11–25 year-olds across Somerset. I could see for all cast members this was a cause deep to their hearts.
Sadly, nerves were clear from the opening, but Feste, played by the vibrant Angel Cakes carries the show and cast through a few hiccups here and there. In fact, it almost feels like an authentic part of the performance.
Viola has the most lines of any female character in all Shakespeare’s works, and Talitha Wade gives an admirable performance. Her twin, Sebastian, played by Jordan Lee, spends most of the play aimlessly wandering around until he’s whisked off by Olivia to become her husband. His “friendship” with Antonio is usually a little more subtle in its hints to it being “something more” – but these players go all in, and why not!
Sean Bailey with his rugged appearance of unkempt beard and walking boots wasn’t your usual Malvolio, but his transformation, complete with yellow stockings, feather boar and mini skirt, was possibly the most entertaining I’ve seen (and trust me, I’ve seen this play many times). The scene of Malvolio reading “Olivia’s” letter (“some have greatness THRUST upon them”) complete with the schemers Belch, Aguecheek and Fabian watching from behind a paper mâché tree on wheels was highly entertaining.
Hats off to the understudy playing Sir Toby Belch, whose stellar performance did carry my eyes away from the script he carried throughout the performance (we were warned he had 2 days to prepare), and his partner in crime Sir Andrew Aguecheek, played by William Jeremy, was a true joy to watch.
Throughout the play, we are carried into this chaotic euphoria where gender and sexuality norms are blurred, leaving the characters to be truly themselves – I would’ve loved to see the director Steph Cole lean into that more. What sadly really lets this production down is the production design and costume, which felt distracting in its lack of style and thematic coherence. I would rather have seen a black screen than a large cardboard door fixed to on a large sheet of vinyl. My advice would be, if you do not have the budget, then let the audience’s imagination do the work.
However what is lacking in visual finesse the actors do make up for with their commitment to both the play and the cause for which they perform. Music, provided by cast members Angel Cakes, Vic Drave and Roisin Hamilton was a delightful addition, sweeping me up in the innocence of Viola and Orsino’s romantic gaze – I felt almost emotional.
It’s a valiant attempt at Shakespeare’s “rudest and silliest of plays” and a true ode to the message of inclusivity that forms part of Bristol’s DNA.
★★★☆☆ Beth Teverson, 7 February, 2025
