Writer-director Foster’s production has an enjoyably end-of-the-pier charm about it. He and Philpott work their way through multiple costumes arranged on coat stands, making it all feel like a cosy game of charades.
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Twelfth Night is given a more delicate touch, one that shows plenty of pathos but could do with a little more punch.
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Overall, the production is chaotic, jubilant, and fun, which is exactly what you want from a Shakespeare comedy...Like the music, the production is a bit of a melting pot with something for everyone: romance, comedy, even a bit of violence.
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Some of the elements don’t quite pull together...But Holmes’ production is so full of infectious joy that the idiosyncrasies are easy to forgive. But Holmes’ production is so full of infectious joy that the idiosyncrasies are easy to forgive.
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Splashy, slapdash and apparently random on the surface, this show turns out to be delicate and nuanced underneath – the most subtle and illuminating interpretation of Shakespeare here since the Globe reopened.
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In this playful, cross-dressing exploration of mistaken identity, the Globe’s artistic director, Michelle Terry, makes a winningly fragile Viola. There’s even more to enjoy in the fruity, resonant delivery of Ciaran O’Brien’s dandyish Sebastian.
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It is a production with many tonal variations, from love sickness and romance to drunken revelry and the bitter aftertaste left by Malvolio’s cruel gulling, but all its parts are carefully entwined and contain an impeccable artistry.
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The only duff note is drawing cynical laughs via exaggerated regional accents. Otherwise, this Twelfth Night comes close to achieving greatness.
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