Twelfth Night
Dates of performance
January 2006
Director’s Note
“Dost thou think, because thou art virtuous, there shall be no more cakes and ale?”
OF TWELFTH NIGHT… What is the “twelfth night” of this play’s title? In Shakespeare’s time this was an unambiguous reference to January 6th, the final night of the twelve-day-long Christmas season (a tradition that survives in the well-known carol) and The Feast of Epiphany, which commemorates the visit of the Three Wise Men to the Christ-Child. It was a time for partying and gift-giving. In many countries, Christmas cards and decorations are taken down on this day, ostensibly to avoid bad luck in the coming year. The Yule log, lit on Christmas day, remained burning until Twelfth Night in order to bring good fortune to the house for the coming year. Its charred remains were kept, both to kindle the next year's Yule log, as well as to protect the house from fire and lightning. Once, Twelfth Night was a day of great merry-making for which a rich fruitcake was baked (a tradition left over from Roman Saturnalian revels!). Hidden in the cake were a bean, a pea and small silver coins. Whoever received the slice containing the bean became the Lord of Misrule, in charge of the Twelfth Night revels, during which all manner of outrageous behaviour and disorder was allowed. In Britain, the Twelfth Night Cake became incorporated into the Christmas cake in the late 19th century, but in France a special cake, the Galette des Rois, is still eaten. Other traditional foods included anything hot and spicy, like ginger snaps or spiced ale. More particularly, the “twelfth night” was seen as a time of general revelry and mild mayhem, a time of temporary sexual freedom, dressing up and social release.AND PURITANS… This jovial Christmas tradition was threatened in Shakespeare’s time by a more recent religious phenomenon. After the Reformation was brought to England a number of figures in the new Anglican Church sought to purify England of the religious ceremonies that lingered from Catholicism. Beginning in the 1570’s, the English “Puritans” sought to purify England of the artistry and amoralism which they felt was incompatible with a properly Reformed Christianity. Their agenda was to force their conservative lifestyle on everyone. Such groups of people often decided that society must refrain from many of the pleasures that their neighbours considered harmless. Holidays were considered solemn instead of festive. Twelfth Night ceremonies were, obviously, a prime target. The treatment of Malvolio by some of the characters is probably excessive if we think of Malvolio merely as a tiresome servant. But Malvolio unambiguously embodies Puritanism – he is frequently called a “puritan” – and so the characters’ pranks at his expense are more political than their playfulness suggests. At root, these constitute a rebellion against the encroaching forces of Puritanism. This might be dismissed as an insignificant political rivalry of Shakespeare’s day was it not for what followed in the years after Shakespeare’s death. In the 1640’s, Puritan forces were the driving force behind a civil war against the monarchy; in 1649, they beheaded King Charles I, and Puritan Thomas Cromwell became the ruler of England. The Puritans, as promised, stripped England of the vestiges of Catholicism, and, most significantly from our point of view, shut down the theatres. In “Twelfth Night” the hatred directed towards Puritans, in the guise of Malvolio, is, more than anything, disturbingly prophetic. Even at its funniest and bawdiest, this play is deadly serious about a political and religious movement that threatened to go after the soul of England. In both the plot and the sub-plot of the play, we see what happens when someone tries to say "No" to joy and laughter. It leads not to dignity or tranquility, but to loss of self-control and very likely to
Synopsis
“A love-song, a love-song! I care not for the good life…”
• The play takes place on the fabulous and exotic island of Illyria. Viola, a young noblewoman, has been shipwrecked in a violent storm. She is devastated because her twin brother, Sebastian, appears to have drowned. The Captain consoles her and, in order to find employment, Viola decides to present herself to the Duke in disguise as a young man.
• The Duke of Illyria, Count Orsino, is in love. The object of his obsession, Countess Olivia, is not in love with him. Her excuse is that she is intends to mourn her brother’s death for 7 years and during this time will have nothing to do with men.
• Olivia’s debauched and fun-loving kinsman, Sir Toby Belch, believes he has found the perfect suitor for his niece. Maria, Olivia’s housekeeper, disagrees since Sir Andrew Aguecheek is a quarrelsome fool, given to drinking and frolicking.
• Cesario (Viola in disguise) has quickly won the favour of Orsino and given the task of wooing Olivia for Orsino. Cesario is reluctant since “he” has fallen in love with Orsino.
• Feste, the clown, who has been long absent, is first scolded by Maria and then by Olivia. Feste’s quick wit and comic reasoning restore Olivia’s favour. However, Malvolio, Olivia’s steward, still harbours a deep grudge. Cesario arrives to advance Orsino’s suit and Olivia falls deeply in love with “him”.
• Antonio has saved Viola’s twin brother Sebastian from drowning. Sebastian decides to head for Orsino’s court to find employment. Antonio is Orsino’s sworn enemy but, out of love and devotion, decides to follow Sebastian.
• Malvolio has followed Cesario on his Olivia’s orders to deliver a ring she claims comes from Cesario. After he departs, Viola/ Cesario realises that Olivia has fallen in love with her/ him.
• A late night festivity develops in Olivia’s garden. The mood is dampened by Malvolio who scorns the revellers and pours cold water on their fun. Malvolio’s superior attitude spurs Maria to devise a plan to put him in his place. She will forge a letter from Olivia declaring love for Malvolio.
• Entranced by Feste’s song, Orsino and Viola discuss the qualities of love. Even though Cesario/ Viola insists Olivia will not be moved, Orsino orders “him” to approach Olivia again.
• Toby, Andrew and Fabian (Olivia’s servant) hide to observe the posturing Malvolio. Discovering the forged letter, Malvolio allows his fantasies free rein. He will even smile and walk about in cross-gartered yellow stockings to please Olivia!
• Olivia declares her love to Cesario but is rejected. Andrew, now frustrated in his love for Olivia, is persuaded to challenge Cesario to a duel to impress Olivia.
INTERVAL
• When they arrive in town, Antonio gives Sebastian his purse and they agree to meet at a tavern after Sebastian has done some sightseeing.• Malvolio makes inappropriate advances to Olivia. She fears he has gone mad and places him in Toby’s care. Cesario runs into Toby and Fabian who, for the sake of good fun, are intent upon forcing the duel with Andrew. Antonio arrives and, mistaking Cesario for Sebastian, breaks up the fight. Officers enter and arrest Antonio who asks for his purse. Cesario, not knowing what he means, denies she knows him. As the hapless Antonio is led away, Viola wonders if her brother is alive. After she departs, Andrew is spurred to follow and continue the duel.
• The clown follows Sebastian around, insisting that Olivia desires to see him. Andrew, Fabian and Toby mistake Sebastian for Cesario and continue the brawl. Olivia breaks it up and, also thinking Sebastian is Cesario, begs him to enter the house. Sebastian is bewildered and mystified but instantly falls in love.
• Malvolio’s ‘madness’ has caused Maria and Toby to imprison him and pretend to exorcise his devils. In the disguise of Sir Topas (a priest), Feste taunts him. Toby realizes they have gone too far and asks the clown to stop the game.
• Sebastian questions his sanity but resolves to follow Olivia to church for a solemn betrothal ceremony.
• The Duke arrives and entreats the clown to let him see Olivia. Antonio is brought in by the officers and explains how he rescued Sebastian from the sea then helped him (actually Viola) in the duel. Orsino accuses Antonio of being a pirate and someone who is not to be trusted. Olivia sweeps in and immediately starts doting on Cesario eventually calling “him” husband. This shocks Viola and enrages the Duke. The Priest arrives and confirms the betrothal vow between Olivia and “Cesario”. Andrew enters and accuses Cesario of wounding him and Toby, which “he” flatly denies. Sir Toby limps in, curses Andrew and the friendship sours. Finally, Sebastian arrives and the twins are reunited. Sebastian promises to keep his betrothal vow to Olivia whilst and the Duke vows to marry Viola. Malvolio is brought from his prison and the trick played on him is revealed by Fabian who also tells of Toby’s marriage to Maria. Malvolio swears to be revenged on them all. The Duke entreats the priest to calm Malvolio, pardons Antonio and calls for celebrations. The clown is left to sing farewell.
Cast
| VIOLA | twin sister of Sebastian, disguised as Cesario |
HENRI LANDON |
| CAPTAIN | friend to Viola | SKHUMBUZO KUMBUZO KUNENE |
| COUNT ORSINO | the Duke of Illyria | NICK ASHBY |
| MUSICIANS | ROBERT JEFFREY - Cello/Guitar |
|
ORSINO’S MEN |
FRANCIS CHOULER, |
|
| SIR TOBYBELCH | Olivia’s uncle | NICHOLAS ELLENBOGEN |
| MARIA | Olivia’s housekeeper | ROBYN SCOTT |
| SIR ANDREW AGUECHEEK | Olivia’s would-be suitor | ADAM NEILL |
| OLIVIA | a Countess | ASTARA MWAKALUMBWA |
| FESTE, THE FOOL | a clown in Olivia’s employ | CLAIRE WATLING |
| MALVOLIO | Olivia’s steward | JEREMY CRUTCHLEY |
| FABIAN | in Olivia’s employ | ANELISA PHEWA |
| A PRIEST | in Olivia’s employ | SKUMBUZO KUMBUZO KUNENE |
| OLIVIA’S WOMEN | LESOKO SEABE, |
|
| ANTONIO | friend to Sebastian | MARK ELDERKIN |
| SEBASTIAN | twin brother of Viola | DYLAN ESBACH |
| DIRECTOR | GEOFFREY HYLAND |
| ORIGINAL MUSIC | ROBERT JEFFERY |
| VOCAL/DIALOGUE COACH | YVONNE BANNING |
| SET/COSTUME DESIGN | ILLKA LOUW |
LIGHTING DESIGN |
FAHEEM BARDIEN |
| SOUND DESIGN | LYNLEY PILLAY |
| PROJECT MANAGER | BRIAN HEYDENRYCH |
| PRODUCTION MANAGER | DERRICK WILDEMAN |
| SENIOR STAGE MANAGER | ALFRED RIETMANN |
| ASSISTANT STAGE MANAGER | DAVID JOHNSON |
| SOUND ASSISTANT | RIAAN WILLIAMS |
| WARDROBE MASTER | JEROME JONAS |
| DIRECTORS RESEARCH ASSISTANT | SANJIN MUFTIC |
| PUBLICITY | LINETTE DE KOCK |
| POSTER & PROGRAMME DESIGN | RICHARD MASON |
| PHOTOGRAPHY | MARK CAMERON & GARTH STEAD |
| FRONT-OF-HOUSE MANAGER | DERRICK DE KOCK |
| SET CONSTRUCTION | GERHARD MORKEL |
| FURNITURE CONSTRUCTION | THE LITTLE THEATRE |
| STATUES & PAINTING | JACQUI SMITH |
| COSTUMES | PENNY SIMPSON, ANN HOLMES (ARTSCAPE) |
