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<\/p>\n\n\n\nThe lights dim and the familiar opening twangs of \u2018Love Story\u2019 echo out across Cardiff\u2019s Temple of
Peace. It is through this unexpected fusion of the Swiftian and Shakespearean that Act One Drama
Society\u2019s production of Twelfth Night transports us into the mystical realm of Illyria. Directed by
Amelia Quarm and produced by Luke Knights, the production premiered in February for a three day
run; starring students across years, the production was attended by an audience of over 200 strong.
One of the most popular Shakespearean comedies for its frothy humour, dizzy love triangles and
merry musical interludes, Act One\u2019s production deftly explored Twelfth Night\u2019s thematic adaptability
to a modern audience. The play\u2019s double meanings, double identities and double entendres lent well to
the playful direction of the production as the characters chased each other into disorder before tying
everything up in a bow at the end.<\/p>\n\n\n\n
\u2018Would you have a love song, or a song of good life?\u2019<\/em><\/p>\n\n\n\n The mischievous and irreverent spirit of the play lent itself well to the production\u2019s excellently cast actors. The razor-sharp comic timing of The Clown (Carenza Danko) harmonised with the nuanced and complex performances of the earnest and likeable Viola (Grace Jolliffe), the poised and stately Lady Olivia (Emily Jo Cottle) and the bold and high-heeled Maria (Kayleigh Lloyd). Staying generally faithful to Shakespeare\u2019s original version, the production\u2019s dramatic crescendos reverberated around the towering ceilings of The Temple of Peace whilst holding the audience close enough to the stage to share in its magic. Most impressive were the actors\u2019 ability to capture the subtleties of the play\u2019s moral subtexts through their line delivery, making even the most Shakespearean of dialogue accessible to the non-English lit student. The directorial guidance of Amelia Quarm effectively coaxed out the meaning behind the jargon, translating Shakespeare\u2019s esoteric and coded language for the modern ear. <\/p>\n\n\n\n William Connor (Sir Toby) discussed memorising lengthy Shakespearean passages, stating \u201cRhythm and metre is always a useful approach as it becomes more like learning song lyrics than standard dialogue. Running scenes repeatedly gets them consolidated in your subconscious.\u201d Connor shined as Sir Toby, rainbow socks and all, swaggering and staggering in moments of drunken dance and boisterous jest with spirited Sir Andrew (Kallan Lewis). Their jovial interactions were characterised by dexterous puns and drunken outbursts into song, while also reigning it back during the more serious moments closer to the end. <\/p>\n\n\n\n The dynamics between Sebastian (Tomos Jones) and Antonio (Gabriel Harper) captured the play\u2019s themes of sexual confusion half-seriously, half-jestingly, wholly amusingly. Their sincere dynamic of affection was touching, whilst both actors toyed with body language to embrace and playfully explore the homoerotic subtext, providing much entertainment. In particular shone the side-splitting blindfolded \u2018exorcism\u2019 of a yellow-stockinged Malvolio (Josh Salisbury). Playing up the comic potential of every line, Malvolio\u2019s every gesture and movement (especially those of his pelvis) repeatedly triggered full-bodied fits within the crowd. The production\u2019s aptly-handed execution of comedy demonstrated how physical comedy remains a timeless aspect of the dramatic form, transcending contexts.<\/p>\n\n\n\n \u2018Better a witty fool than a foolish wit\u2019<\/em><\/p>\n\n\n\n Perfectly pacing the intertwining web of displaced desire, the play peaked in its ending scene where the plot finally untangled itself with all characters present on stage. Malvolio\u2019s furied outburst \u2018I\u2019ll be revenged on the whole pack of you!\u2019 <\/em>daccentuated the darker flavours of the play (whilst being somewhat juxtaposed by the ridiculousness of his yellow legged-ness). As the Clown softly sung whilst processing through the middle of the audience during the final musical episode, they seemed to gently mourn the audience\u2019s parting from the happy evening. Bidding a wholesome farewell to the festivities of Illyria, the audience was left warmed by the romantic buzz and twinkling humour of Twelfth Night. <\/em><\/p>\n\n\n\n Since commencing rehearsals back in last October, Amelia and Luke worked tirelessly for 6 months to get their production off the ground. Kayleigh Lloyd described the most rewarding part of being in the production as \u201cNot only seeing the production begin to form but watching each of my cast mates grow in confidence and all of us become better friends.\u201d To other students interested in taking part in Act One, Emily Jo Cottle urged others to \u201cDo it, just go for it! Act One is such a friendly environment and I felt that initial nerve to join but I have no regrets and I have loved doing this play.\u201d<\/p>\n\n\n\n Certainly, Twelfth Night<\/em> saw Act One Society at its best; reminding us of the life affirming power of live performance, and of the organic energy and joy to be found on the Shakespearean stage when illuminated by the lively and innovative minds of university students.<\/p>\n\n\n\n \u2018But thats all one, our play is done, And we\u2019ll strive to please you every day\u2019<\/em><\/p>\n\n\n\n Words by Julia Bottoms<\/em><\/strong><\/p>\n\n\n\n Photography courtesy of Amelia Quarm<\/em><\/p>\n\n\n\n <\/p>\n","protected":false},"excerpt":{"rendered":" The lights dim and the familiar opening twangs of \u2018Love Story\u2019 echo out across Cardiff\u2019s Temple ofPeace. It is through […]<\/p>\n","protected":false},"author":650,"featured_media":34703,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_exactmetrics_skip_tracking":false,"_exactmetrics_sitenote_active":false,"_exactmetrics_sitenote_note":"","_exactmetrics_sitenote_category":0,"site-sidebar-layout":"default","site-content-layout":"","ast-site-content-layout":"default","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","ast-disable-related-posts":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"default","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"footnotes":""},"categories":[10],"tags":[3,3054,96,1206,19],"class_list":["post-34701","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-culture","tag-cardiff","tag-cardiff-student-media","tag-quench","tag-quench-magazine","tag-review"],"acf":[],"yoast_head":"\n
Inviting front-rowers to participate in the play\u2019s outbursts of dance and song, the production integrated the audience as partners in play to the actors on stage. Moreover, embedded throughout the performance were self-referential Fleabag-esque asides, \u201cIf this were played upon a stage now, I could condemn it as an improbable fiction\u201d<\/em>. Breaking the fourth wall not only modernised the production but engaged with the audience as active participants and fellow Illyria-wanderers.<\/p>\n\n\n\n![](\"https:\/\/lh7-rt.googleusercontent.com\/docsz\/AD_4nXdQR1bcUVarnjJ9NYpjACDh-x4nmFLsvEvKy5b4ZcG_KR-VkKl-8tq_hIeCgMTZm6-ePXbvkVMOgndnMhi66ZtmlG4rnYI9ww-3R5ozn6vG6pYV_L1s6LPslCNnLxP-wsuhnjVI3w-UuUofxNKhl5A4pLM3sHfVeT1Sc6JmTQLfBnyyyum7Ez0?key=MQRXLUZ2fxP9Zm-EKLPMbd7G\")
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