Back from a mini tour of Yorkshire and Stockport and cheering for supporting act Indignation Meeting
Kwame Kwei-Armah sets a marker in vibrant first production at the Young Vic
https://youtu.be/Pedxjm0UckU
ALISTAR FINDLAY is mesmerised by this multiple ‘Visions of Scotland’ assault on the audience’s eyes and senses
The Star's critics ANGUS REID, ANDY HEDGECOCK and MICHAL BONCZA reviews I Am Love, The Penguin Lessons, Freaky Tales, The Thicket
MAYER WAKEFIELD has reservations about the direction of a play centered on a DVLA re-training session for three British-Pakistani motorists
New releases from Steve Knightley, Jupiter & Okwess, Jason Palmer, Lisa Knapp and Gerry Driver, Kin'Gongolo Kiniata, Ingrid Laubrock/Tom Rainey, Dan Sealey, Simin Tande, PAZ
Peter Mitchell's photography reveals a poetic relationship with Leeds
A uncomfortably misogynistic authorial voice that sometimes seems to lack insight troubles FIONA O’CONNOR
Twelfth Night
Young Vic, London
KWAME KWEI-ARMAH opens his tenure as artistic director at the Young Vic with this highly successful musical adaptation of Twelfth Night that played in New York’s Central Park to glowing reviews.
It will not appeal to Shakespearian purists. The majority of the verse is replaced by Shaina Taub’s catchy musical score and the darker themes all but expunged but, running at 90 minutes and with a 30-strong local chorus, it's a joyous introduction to Shakespeare and a vibrant celebration of the Notting Hill community.
Set on the eve of the carnival, the street-party atmosphere is established from the outset as the cast, interacting with the arriving audience, populate both the auditorium and Robert Jones’s expansive, and brightly coloured street set.
More from this author
SIMON PARSONS is discomfited by an unflichingly negative portrait of motherhood and its trials
SIMON PARSONS applauds an insightful state-of-the-nation play that explores the growing class divide in South Africa
SIMON PARSONS applauds a tense and thoughtful production that regularly challenges our political engagement and prejudices
SIMON PARSONS questions whether a dark take on Shakespeare’s Seasonal comedy is in harmony with the original text
