Michael Hurst’s interpretation of Shakespeare’s Twelfth Night or, What You Will, is exquisitely crafted, beautiful, and enormously accessible. The continuous ripples of hearty laughter from the opening night audience, who willingly interacted with the players, is testament to his triumph.

Hurst’s last two Shakespeare’s have been dynamic yet intense tragedies, so it is refreshing to see his uncompromising mark stamped on one of the Bard’s greatest comedies. In particular, his bold direction of Feste the fool, (played by Oliver Driver at his unique and comic best), giving him total artistic freedom to weave in and out of Shakespeare’s text, results in a Twelfth Night showered in freshness, yet true to the original manuscript in all other regards.

Opening in gloomy shadows, immersed in musical melancholy, then plunging into a black storm, Hurst wastes no time casting us upon the shores of Illyria, where John Verryt’s set has a vastness to it that defies the size of The Maidment. Beach, sea and sky, stretching the width of the stage and beyond, evoke a feeling of endless summer days in a land of love, long lasting parties and mid summer madness.

Costume Designer Elizabeth Whiting complements to perfection. Choosing warm tones, she takes full advantage of Hurst’s c.1950s setting, with exquisite style and class that would turn heads at NZ Fashion Week. By contrast, she dresses Feste initially in black and white, ready to flirt with anarchy. However, Whiting’s crowning moment is saved for Malvolio.

Lighting Designer David Eversfield relishes every opportunity to paint Verryt’s backdrop beautifully, and skilfully enhances many stunning tableau moments such as Olivia first entrance. However, it is a shame that on occasion faces were left in shadow during important narrative and exposition.  

There are many, many outstanding performances, in particular Paul Barrett as the sober puritan, the enemy of fun, Malvolio. Every aspect of his performance, from vocal delivery to physicality, is simply outstanding. 

George Henare’s perpetually drunk Sir Toby’s is expertly performed, oozing effortless craft. Peter McCauley’s Sir Andrew Aguecheek makes the perfect cohort for indulgence. Add to their mischief, Jacque Drew’s lippy, sassy Maria, and this unbeatable trio freely exploits every opportunity for humour. They are enormously entertaining in their revelry.

Right from his spectacular entrance, Oliver’s twist makes the phrase "Or, What You Will" his own, as he segues between his own words and the Bard’s, effortlessly. Among his many performance highlights are his appearance at the end of interval, and his taunting preacher-man.

Jason Smith, described as The food of love in the programme, does indeed provide a musical feast throughout the evening. As Musical Director / Composer, he has achieved what some would think impossible, by drawing out a Nick-Cave-like voice, from deep within Driver, to create three outstanding vocal performances. In addition, as Fabian, not only are Smith’s original piano stylings a forte throughout the evening, he shows through his muted interplay with Driver and others, that a little goes a long way.

Jennifer Ward-Lealand as Olivia, graces the stage with powerful presence, and disarming stillness. But as this untouchable lady in mourning is undone by love, her transformation is superb.

While Paolo Rotondo and Charlie McDermott strike up a solid comradeship as Sebastian and Antonia, Rontondo’s most focussed work is alongside Ward-Lealand, at one point, conveying all he needs to, with a simple turn to the audience.

As Viola, Tandi Wright conveys great vulnerability and truth. Although she occasionally underplays the vocal variation and physical energy needed for such a multi facetted role, her scenes with Andrew Laing as Orsino, (who wallows in the misery of unrequited love to great affect), deliver some well-crafted comic inter-play.

Ultimately the cast is a pot pouri of vastly different acting styles and strengths, yet under the skilful guidance of Hurst, these fifteen converge in a land swayed by endless liquor and the madness of love in all its manifestations, and collectively become a mirror to all aspects of the human psyche.

Finally, thank you to the Auckland Theatre Company for assembling a cast of fifteen, including four capable students on secondment from Year three of UNITEC School of Performing and Screen Arts. The satisfaction of enjoying quantity as well as quality is a rare experience for regular theatre patrons these days.

If you’re looking for humour and warmth to combat the mid winter chill, look no further than Twelfth Night. Its intoxicating drug of love guarantees fun, laughter, and a truly satisfying, happy outcome.

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