Hoxton Hall, London
***
Hoxton
Hall is one of those adapted theatre spaces that bears the kind of unique charm
achieved by old buildings that lend themselves to community arts projects.
Retaining its character, players in the theatre utilise the surrounding
balconies, unusual three-tier staging and church-like arrangement for their
benefit. The salon:collective have chosen to perform the Christmas frolicking
classic Twelfth Night in the space with
a touch of panto, farce and cabaret.
The
most noticeable visual effect is the clutter of objects around the stage,
including a giant red bowler hat, a donkey mask, a white bird’s wing and a
chair hanging from the ceiling. Their unclear purpose creates a delightful
curiosity. The whole experience deconstructs itself in the opening with the
actors (or more their personas) roaming the hall pretending to warm up. Here we
get the first taste of interactivity, something brought back intermittently
throughout the performance.
The
show has been described as interactive pantomime; this is understandable, but
as I have stated previously, it also has elements of farce, as well as cabaret
and Brechtian deconstruction. Somehow it’s a serious drama with realist acting as
well. This is the performance’s main flaw: the audience are constantly flitted
between styles but none are committed to in any way. One minute we’re being
encouraged to sing Christmas songs, the next watching Malvolio break down
mentally in solitary confinement. While on that topic, it should be said that
Michael Luke Walsh’s performance as the cross-gartered fool is very powerful. Kim
Hardy is also very entertaining as Feste and Sebastian.
Much
of the acting in the many modes of genre is well executed, but it is difficult
to engage when you can’t settle anywhere. There is not enough audience
interaction to justify it, unlike in any Belt Up performance, for example,
where the balance is perfected. The consequence of this is everyone feeling
extremely awkward. Similarly, pantomime is a genre that defines itself through
having little room for negotiation. It’s at least fifty per cent tradition and
you must commit to it with conviction if you want to follow it. A few funny
moustaches and one sing-along followed by heart-wrenching drama will only leave
an audience confused.
Twelfth Night has the potential to be
absolutely hilarious and many opportunities were missed in this production.
Nevertheless, Malvolio’s humiliation, at least before the aftermath, was
chokingly funny and Feste had some true highlights. There is promise for a
great show, it just needs some cohesion.
This production runs until 22 December 2012.
For more information: http://www.hoxtonhall.co.uk/whatson/saloncollective-barefoot-grass-theatre-twelfth-nig/
@HoxtonHall @CollectiveSalon
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