In the program notes to his Courtyard Theatre production of Twelfth Night, director Toby Eddington appears to promise something different from the traditional, describing the play's characters as representing: 'the fundamentals of existence', each serving as 'an allegory of the entire human condition through the eyes of great Magus and Alchemist in search if the only gold worth having; Truth'. The performance of the play is described as the formation of a pentagram, which unites, for example, Olivia (Air) with Sebastian (Fire). 
      What follows, however, is not the sinister occult world of Alchemy but a sensitive and very traditional portrayal of the uncut text, capturing a subtle blend of romance and comedy, tinged with madness. Viola, disguised as a man, becomes servant to Duke Orsino, with whom she falls in love. She, however, is desired by the lady Olivia, who is in turn, adored by Orsino. The triangle evolves, complicated by the antics of Sir Toby Belch, Feste, and the other comic characters. The confusions of mistaken identity and misguided affection really erupt with the entrance of Viola's twin brother Sebastian, forcing the stage to descend into a place of madness reconcilable only by the climatic final scene. 
      When you enter the Courtyard Theatre, you enter the intimacy of a living room. This provides an appropriate platform to explore the complexity of the human emotions which undoubtedly torment everyone in the audience as much as the fictional characters they observe. The audience looks on from three sides, involving them closely in the play's thematic concerns, enabling Shakespeare's world to be translated into that of today. 
      The set accentuates this intimacy, as there is little to divert the attention from the play's language. A simple, sparse arena populated by a sundial and small bench gives the actors freedom to explore the text's complexities. It is the lighting that effectively simulates a change of scene and space, capturing the confinement of Malvolio in his supposed madness through the shadow of bars on a darkened, comfortless stage. 
      Among very good performances particular mention has to be made of Stephanie Jory, who provides a passionate and convincing Viola, Lottie Bovingdon, who is similarly strong in communicating the emotions plaguing her Olivia, while Bernard Lawrence as Sir Toby Belch provides the best of the hilarious interludes which punctuate the plot.
Jackie Scully