Another thing to add to your bucket list; see a Shakespeare’s Speakeasy, see another one and then another. When you think of Shakespearian productions you will probably envisage a large scale, extravagant production with drawn-out dialog that emphasises every last syllable. Shakespeare’s Speakeasy is so much more fun than that. The actors have one month to learn their lines, separately, then one day together to create the production. With a ‘rehearsals are for wimps’ attitude, the show steams forward with confidence, laughter and cheesy pop music. As an audience member, you have no idea which of Shakespeare’s many plays they will be performing until the show starts, which adds to the fun!
There have been many good productions of Twelfth Night, but Shakespeare’s Speakeasy smashes them all out of the water. This is rough and raw theatre, things go wrong, lines aren’t perfect, but the show is all the more enjoyable for it. It feels impossibly good for the time it has taken to put together. Only a few basic modern day props, some simple lights, a few bits of costume and a host of talented actors take you through the raucous performance of the Bard’s work. It’s ludicrous! It’s fantastic! This show is wise enough to know it’s a fool. By bringing the production to a simpler and, dare I say it, more accessible form of Shakespeare’s work, you can feel the joy of it. Not a word-for-word rendition, but showing the true soul of the Bard.
Jake Wilson Craw triumphantly directed this production, as well as working the lighting/sound desk (at times), while also playing Viola’s lost brother Sebastian with subtly and wit. The suggestion of his bisexuality brings new meaning to Antonio’s words of loyalty. Artistic Director Steven Arran, who also part-ran the light/sound desk, clearly took great pleasure in his role as the pompous, and greatly wronged, Malvolio. I have never laughed at a man’s legs more in my life. Katie Tranter, a resigned Viola with such easy humour, slipped gracefully into her role. Ellie Carroll seemed to revel in her moments as a slightly raunchier Olivia, leaving Sebastian with more than just a quick kiss. Adam Lowe flitted quickly between the delightfully cool Duke and his weasely Sir Andrew Aguecheek, contrasting the two perfectly. Joseph Lynch had the daunting task of playing The Clown, Sea Captain and Antonio, accomplishing his different roles with true earnestness, an understated delivery of his lines and a great deal of humour. Philip Harrison as Sir Toby Belch was wonderfully interactive with the audience; thank goodness he hadn’t had too many pickled Herring. It was a pleasure to watch him scheming with Kylie Ann Ford as Maria. She was able to say what we were all thinking about Malvolio and had the audiences in stitches.
Bawdy, bold and brilliant!
