A gloriously funny romp; witty, quick paced with sexual tension galore. Lizzy Watts is a sensation.
Firstly can I say what a gorgeous space Orange Tree Theatre is, the in the round space in lovely Richmond is the perfect setting for this translated revival.
The set design is unobtrusively simple, the floor patterned with an intricate maze (perhaps symbolising the complicated plot) and an incredible ceiling piece. There’s also in the corner a striking sculpture which unfortunately isn’t used/acknowledged and seems almost irrelevant to the piece, I’d be interested to understand its inspiration as I was distracted by its unexplored presence. What this simple design allows is the actors to use the whole space uninhibited, which they do.
Crimps’ translation of the comedia dell arte script is skilfully done, bringing a modernity and clarity to a ‘Twelfth Nightesque’ story which could easily become convoluted. The handling of infusing popular language without it feeling obtuse is refreshing.
The story itself leans heavily on gender play and deception with all the fun and frolics which can be derided from this. The Chevalier played by the mesmerising Lizzy Watts is a young lady who, disguised as a man, has befriended the cad, Leilio (Julian Moore-Cook), in order to scupper his plans to marry her.
Watts is a powerhouse, from the subtlety of her physicality as she shifts between gender norms to the biting passion of the love scenes it is almost impossible to take your eyes off her. The remaining cast are strong throughout each managing the wordy text and complicated dynamics.
Where the cast sometimes struggle are in the many, many, many asides to the audience, often the throwaways are buried in the text and the impact of letting the audience in on the secret is lost. The opening scene could also benefit from the listening, spontaneity and connection shown throughout the rest of the show, in comparison the start reads as slightly over egged exposition.
One of the stand out scenes is a carefully choreographed manipulation by Trivelin (Will Brown) – the movement by Christin Fulcher is slick and perfectly compliments and feeds into the tension and comedy of the piece.
Paul Miller’s direction allows the characters and writing to thrive though intense connection and build. I do wish there’d been even more creative use of the space – being braver in intimate moments to not use the diagonal blocking which becomes a little repetitive. There is a brief shock to this staging when Trivelin (Watts) joins the audience to hide, which was refreshing and left me wanting more.
Overall the production is slick, gorgeously acted, laugh out loud funny and this reviewer can think of a lot worse ways to spend an evening.
