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UBC Publications

Twelfth Night Nov 7, 1984

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 m
Theatre
2nu\
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LI I .     1     '   '  1 Designers Ltd.
Quality Furs
Since 1931
449 Hamilton Street, Vancomver, B. C,
2P9 (604) 681-6391 University of British Columbia
Frederic Wood Theatre
Presents
Twelfth Night
By ^
William Shakespeare
Directed by
Pamela Hawthorn
November 7-17
1984
University of British Columbia
FREDERIC
WOOD
THEATRE
1984/85 Season
Look Back in Anger
by John Osborne
Directed by Stanley Weese
(September 19-29)
Twelfth Night
By William Shakespeare
Directed by Pamela Hawthorne
(November 7-17)
The Imaginary Invalid
By Moliere
Directed by Mavor Moore
(January 16-26)
Happy End
Music by Kurt Weill
Lyrics by Bertolt Brecht
Directed by Arne Zazlove
(March 6-16)
For information and reservations
phone 228-2678
FWT
Program Magazine
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Joseph G. MacKinnon
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TWELFTH NIGHT
Twelfth Night (1600/1601) links the two halves of Shakespeare's
writing life. The play crowns, almost summarizes, the nine Elizabethan
comedies he had already produced. Children separated at sea, a
heroine forced to disguise herself as a boy, the wise fool, a girl who
reluctantly woos her own rival in love, ill-considered vows, confusion
between twins: these are only a few of the themes which Twelfth
Night picks up and elaborates from its predecessors. At the same time,
this comedy prefigures the final romances. Like Marina in Pericles, or
Perdita in The Winter's Tale, Viola simply accepts her strange situation.
She does not attempt to transform it, as Rosalind and Julia did.
Although she knows that "youth's a stuff will not endure", that her
beauty is wasting away in boy's disguise, she insists that Time "must untangle this, not I". Even when the plot seems to demand her interference, as it does at the end of Shakespeare's Act 3, she sits still,
placing her faith in the mysterious symmetries of a universe whose
"tempests ? z kind, and salt waves fresh in love". This trust is justified.
In dep'k..ng Viola's reunion with the brother she thought dead, her
own fairy-tale marriage with the Duke Orsino, or Sebastian's splendid
match, Twelfth Night is deliberately unrealistic but emotionally highly
charged in the manner of Shakespeare's last plays.
For Elizabethans, the very title of this comedy would have stirred
associations with an annual period of revelry: a feast at which the
world turned upside down, pleasure became a kind of obligation, and
ordinary rules of conduct were reversed. The sea-captain who first tells
Viola about lllyria might justly have said to her what the Cheshire Cat
says to Alice: "They're all mad here". Orsino and Olivia are both in abnormal states of mind at the beginning of the play, and there are even
madder characters to come: the drunken Sir Toby, the hare-brained
Andrew Aguecheek, or Feste, the man whose profession is folly. Even
Sebastian and Antonio will admit to temporary insanity. Malvolio alone
tries to check this prevailing atmosphere of abandon, this abdication
from common sense. As soon as he does so, he becomes the enemy:
the churl, the sober-sides at the carnival who refuses to yield himself to
the extraordinary. As a comecy audience, we naturally side with Sir
Toby, Feste and Maria against this Puritan, as they trick him into the
service of just that world of play-acting and lunacy he so loftily
despised. Thereafter, carnival will do with him what it chooses — until
the moment of awakening.
By its very nature, holiday is not eternal. It is only an interval in the
everyday, destined to yield in the end to the sober order it has
momentarily overthrown. In the final act of Twelfth Night, fantasy
fights against the cold light of day. For some characters, it is true,
holiday perpetuates itself. Viola and Orsino, Olivia and Sebastian
remain, by the special dispensation of art, in a romance world that
never falters. They recover their sanity. They have even gained a certain self-knowledge from their experiences. But it is clear that they
remain privileged inhabitants of lllyria: that place of idealistic friendships and sudden, irrational loves, where people are shipwrecked into good fortune, and the dead return. Orsino does not even need to behold Viola in her own person as a girl before accepting her as "Or-
sino's mistress, and his fancy's queen". The other characters of the
comedy, by contrast, are exiled into reality. For most of them, holiday
is paid for in ways that have real life consequences. Aguecheek creeps
back to his depleted lands, rejected both by Olivia and by the friend he
trusted. Sir Toby exits crying (in vain) for a surgeon to dress his wounds.
His marriage to Maria is the coldest of off-stage bargains. Malvolio
rushes away invoking a futile vengeance "on the whole pack of you".
None of these characters, in striking contradiction to Shakespeare's
usual practice, can be absorbed into the harmony of the romantic plot.
They are not even allowed to remain on stage with the happy lovers at
the end.
Twelfth Night denies us the complete resolution of A Midsummer
Night's Dream or As You Like It. Instead, it consigns some of its
characters to a fairy-tale world while jolting others into reality. The
audience leaving the theatre faces its own jolt into reality, but at least it
is given Feste and not Malvolio as its guide. Left alone on the stage,
Feste sings his song about the ages of man, part of which will re-appear
in King Lear in the mouth of another and more tragic fool. Feste does
not attempt to judge, or even to reason. He simply states those facts
which he has known all along. The child is permitted his fancies: "a
foolish thing was but a to/'. When he grows up, he discovers that his
self-deceptions are easily penetrated by the world: "by swaggering
could I never thrive". The reality of wind and rain wins out, the
monotony of everyday. The passing of time is painful, may even seem
unendurable, but there is nothing for it but resignation, the wise acceptance of the Fool. All holidays come to an end. All revels wind down at
last. Only in the theatre can some people be left in lllyria. For the rest
of us, at a certain point, the play is done and we return to normality
along with Sir Toby, Aguecheek and Malvolio. Twelfth Night is over,
and we have been dismissed to a world beyond holiday, where "the
rain it raineth every day". Anne Barton
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Twelfth Night
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"TWELFTH NIGHT'
...Of fantasy, in its less tragic forms, there is no better example than
Twelfth Night. Orsino is sighing, not for love, but about it. Type of the
perpetual adolescent, the man who will not grow up, he knows intuitively that, if he ever falls in love, he will have to do something
about it. A shadow love is easier to deal with, and has the extra advantage of making him an object of pity. He therefore indulges in a protective fantasy, carefully choosing a lady who is inaccessible, and so will
leave him undisturbed.
Olivia, the lady of his choice, is also avoiding love, but for a different
reason. She knows well that, when it comes, it will shake her spirit to
its depths. Her protective fantasy is a vow of mourning for her brother.
She will 'cloistered walk', etc., for seven years, and keep herself from
the thunderbolt.
The third victim of fantasy, Malvolio, is compensating himself by a
dream of power and conquest for the position which, he knows well,
is too low for his gifts and his serious intelligence. He is compensating
himself too for the snubs from Sir Toby, to which that position exposes
him. Did contemplation not make a rare turkey-cock of him, he could
readily manage them all: but it is the quality of this kind of fantasy that
others may perceive it, and the sober well-read man is brought to such
a pass, he jets so under his advanced plumes, that Maria, quick-witted
and practical, unerringly reads his mind. It is his bitterest humiliation
that his fantasy has betrayed him to the 'idle, shallow creatures' whom
he so despised.
The fantasies of Orsino and Olivia are dispelled less rudely. Olivia has
fallen headlong in love with the disguised Viola, and is speedily
brought to such a pitch that even her pride is gone. 'I do I know not
what' she complains. 'Ourselves we do not owe.' How rightly she had
feared what love would do to her. The advent of the straight-forward,
uncomplicated Sebastian introduces a strand of reality parallel to that
which trips Malvolio. Finding himself wooed by a beautiful and wealthy
woman, Sebastian scratches his head, embraces his good luck, and
marries her. We do not see how Olivia accepts the transference: his
character does not resemble Viola's: but probably his physical resemblance to 'Cesario' will do the trick, especially when Viola is once more
dressed as a girl.
For Orsino, all falls out pat. He is offered love on a plate, without
having to do anything about it. Still, Viola is not one to cosset fantasy.
She will probably make a man of the sentimentalist, as surely as the
wittiest piece of Eve's flesh in lllyria will make Sir Toby leave drinking...
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PAMELA HAWTHORN
Pamela has a long history with UBC. She graduated with a B.A. in
English in 1961 and whiie a student appeared in many UBC productions for both the Player's Club and the original Frederic Wood Theatre
in the oid hut. Some productions she appeared in were Charley's
Aunt, Dream Girl, The Good Woman of Setzuan, The Glass Menagerie and two productions directed by John Brockington, The Importance of Being Earnest and The Cherry Orchard.
After graduating from the Yale School of Drama, Pamela taught and
directed in the United States before returning to live in Vancouver.
Since 1972 she has been the Managing Director of the New Play
Centre, one of Canada's best known developmental theatres working
with new plays by Canadian writers. Over the years nearly 100 plays
have received their first professional production at the New Play
Centre and many of these plays have gone on to further fame throughout Canada and North America.
For the New Play Centre Pamela has directed: The Unveiling, Free
at Last, Ned and Jack, Mai, and Beautiful Tigers among many. For
other companies she has directed: Jack Spratt {Vancouver Playhouse), Drift, Othello, Rose, and Private Lives {Globe Theatre,
Regina), Stargazing and The Taming of the Shrew (Stratford Festival),
The Lion in Winter {Bastion Theatre, Victoria) and most recently,
The Taming of the Shrew for the Missouri Repertory Company in
Kansas City.
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8 SOME BASIC FACTS
SOURCE:
The Orsino/Viola/Olivia story is most closely derived from an Italian
play written by the Academy of the Intronati at Siena called Cl'lgan-
nati (The Deceived) for the Carnival of 1531. Barnaby Riche's story of
"Apolonius and Silla" in Riches Farewell to a Military Profession (1581)
contains the elements of shipwreck, twins of different sexes, the girl
dressing as a man and her infatuation with the Duke. Malvolio is
Shakespeare's creation. His treatment, however, is reminiscent of the
dotard Gherardo in Cl'lngannati, but also of the mad scene in Plautus'
(obviously much earlier work) Menaechmi.
PLOT:
Viola and her brother have been shipwrecked off the coast of lllyria
and each believes the other to be drowned. Viola, through the
assistance of a sea captain, disguises herself as a eunuch, takes the
name of Cesario and enters the service of the Duke Orsino.
The Duke sends Cesario to woo the lady Olivia on his behalf but
Olivia, instead, falls in love with Cesario.
Sebastian is saved by the sea captain, Antonio, and arrives in lllyria.
Malvolio, the steward of Olivia's household, disapproves of Sir Toby
Belch, her kinsman, Sir Andrew Aguecheek, his friend, and Feste, her
jester. Together with Maria, her waiting-woman, they plot Malvolio's
downfall.
Olivia meets Sebastian, mistakes him for Cesario, and they are secretly
married. Orsino is enraged at the apparent falseness of his page. True
identities  are   revealed  and   Orsino   recognises  his  affection  for
Viola.
DATE:
Twelfth Night is one of Shakespeare's comedies coming after A Midsummer Night's Dream (1595), Much Ado About Nothing (1598) and
As You Like It (1599). Scholars conjecture that it was written around
1600 and it has been maintained that it was specifically written for the
occasion of Twelfth Night at Elizabeth's court in 1601. The first performance on record was in 1602. John Manningham, a lawyer of the Middle Temple, made the entry: "we had a play Twelve Night or what you
will" in his diary for 2 February 1602. Twelfth Night was published in
the 1623 Folio.
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TWELFTI
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William Sh
Directed by
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Set and Costume design by
Brian H. Jackson
Lighting design by
Ian Pratt
DRAMATIS PERSONAE
Orsino, Duke of lllyria Mark Hopkins
Sebastian, brother of Viola Bruce Harwood
Antonio, a sea captain, friend to Viola David Ingham
gtenfr* | gentlemen attending on,he Duke       ^^
Sir Toby Belch, uncle to Olivia Drew Kemp
Sir Andrew Aguecheek Lyle Moon
Malvolio, steward to Olivia Bruce Dow
Fabian 1 „ .   .-,. . Pat Blaney
r   .        . servants to Olivia t-     \     c
Feste, a clown I Carolyn Soper
Olivia, a countess Tamsin Kelsey
Viola, sister to Sebastian Pamela Dangelmaier
Maria, Olivia's woman Kerry Sandomirsky
Lady in waiting Elizabeth Martin
Priest Chris Rosati
First Officer Chris Beck
Second Officer Stefan Winfield
Musicians
Lute Robert Park
Recorder Chris Wilson
Scene: lllyria
There will be one intermission.
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Technical Director Ian Pratt
Properties Sherry Darcus
Lighting Execution John Henrickson
Set Construction Robert Eberle, Don Griffiths
Costume Supervisor Rosemarie Heselton
Cutter Christina McQuarrie
Seamstresses Charlotte Burke, Sarah Marchant and Anita Simard
Wigs Terry Kozak
Scenic Artist Don S. Davis
Stage Manager Christine Plunkett
Properties Assistant and Painter Nancy Ford
Assistant to the Director Louise Thompson
Assistant Stage Managers Karin Swendsen, Bev Siver
Sound Carol Fomataro
Wardrobe Owen Lock
Crew Gary Muir, Diana Crumback
Technical Assistants Cynthia Burtinshaw, Jacqueline King,
Siobhan Ryan and Debbie Starr
Musical Coordinator Adam Con
Business Manager Marjorie Fordham
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Production Norman Young
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12 WHAT THE CRITICS SAID
Malvolio is not essentially ludicrous. He becomes comic but by accident. He is cold, austere, repelling; but dignified, consistent, and, for
what appears, rather of an overstretched morality. Maria describes him
as a sort of Puritan; and he might have worn his gold chain with
honour in one of our old Roundhead families, in the service of a Lambert, or a Lady Fairfax. But his morality and his manners are misplaced
in lllyria. He is opposed to the proper levities of the piece, and falls in
the unequal contest. Still his pride, or his gravity (call it what you will), is
inherent, and native to the man, not mock or affected, which latter
only are the fit objects to excite laughter. His quality is at the best
unlovely, but neither buffoon nor contemptible. His bearing is lofty, a
tittle above his station, but probably not much above his deserts. We
see no reason why he should not have been honourable, accomplished...and when we take into consideration the unprotected condition of his mistress, and the strict regard with which her state of real
or dissembled mourning would draw the eyes of the world upon her
house-affairs, Malvolio might feel the honour of the family in some sort
in his keeping. Charles Lamb (1811)
This is the happiest and one of the loveliest of all the Shakespearean
plays. It is the best English comedy...It shows us three souls suffering
from the kind of sickly vanity that feeds on day-dreams. Orsino is in an
unreal mood of emotion. Love is an active passion. Orsino is in the
clutch of its dangerous passive enemy called sentimentality. He lolls
upon a couch to music when he ought to be carrying her glove to battle. Olivia is in an unreal mood of mourning for her brother. Grief is a
destroying passion. Olivia makes it a form of self-indulgence, of one
sweet the more to attract flies to her. Malvolio is in an unreal mood of
self-importance. Long posing at the head of ceremony has given him
the faith that ceremony, of which he is the head, is the whole of life.
This faith deludes him into a life of day-dreams, common enough
among inactive clever people, but dangerous to the indulger, as all
things are that distort the mental vision...The only cure for the sickly in
mind is reality. John Masefield (1917)
The first essential for a lasting love of someone else is the sound
assessment of one's own identity...The familiar Shakespearean theme
of appearance versus reality thus finds in the comedies a special application...There is nothing in the tragedies that is not made of the stuff
of tragedy, and nothing in the histories that does not bear in one way
or another on the problems of authority and kingship, but in the
comedies we are constantly running into material that threatens to
tear the delicate envolope of comedy. Twelfth Night..as the finest
development, the distillation of Shakespeare's romantic comedy.
John Wain (1964)
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13 Frederic Wood Theatre
Twelfth Night, directed by John Brockington, Fredent Wood Season 1970,71. To the far left Larry Lillo as Viola, to the far right
Richard Quzountan as Olivia in this all-male version of Shakespeare's play. Lillo and Ouzounian, both M.F.A. students from the
Department of 1 heatre, have since established themselves as two of the most successful directors in Canadian theatre.
Another shot from the same production. To the left John Brighton as Sir Toby Belch, To the right another UBC Theatre student. Brent
Carver (Maria), who has since worked successfully in movies, in television, and on stage.
14 Stratfo rd-U po n-Avo n
1955 • Vivien Leigh as Viola, Laurence Olivier as Malvolio
1966 • Diana Rigg as Viola, Ian Holm as Malvolio
15 16
Rehearsal Shots    By   Marcel Williams VANCOUVER
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By
Brian H. Jackson
Brian H. Jackson has worked as a
designer of sets and costumes in
Canadian Theatre for more than
twenty-five years. He trained at the
Old Vic Theatre School in England
and his career has included working
on more than 100 productions in
almost every leading theatre in Canada.
Currently, he is a faculty member of
the Theatre Department, at the
University of British Columbia.
Available, through
special arrangement from:
University Productions Inc.
733-9658
while quantities last!
Over the years Sweet Cherubim stores and
restaurants have become a Vancouver landmark
for people desiring good, wholesome natural
food at reasonable prices.
3629 W. Broadway (at Alma)
731-3022
4242 Main St. (at 27th)
876-6255
1105 Commercial (at Napier)
253-0969
COUPON OFFER
Bring this ad in for a special
30% off on vitamin supplements
20% off on cosmetics
10% off grocery & restaurant order
EXPIRY DATE - NOV. 30, 1984
LIMIT ONE DISCOUNT PER CUSTOMER
17 COMING ATTRACTIONS
new play
centre
at Waterfront
Theatre
Our 84/85 Season...
WOMEN'S SHORT TAKES
*5 new pieces by B.C. women
(November 16-18)
SENIOR STAGE REVUE
* music, comedy and drama, written
and performed by seniors
(December 4-9)
TSYMBALY-by TED GALAY
*the story of 4 generations of
a Ukrainian-Canadian family
with music and dance
(January 22-27)
11th Annual
du Maurier Festival
(April 14-27)
For information
call
685-6228
University of British Columbia
FREDERIC
WOOD
THEATRE
The Imaginary Invalid
By Moliere
Directed by Mavor Moore
(January 16-26)
Happy End
Music by Kurt Weill
Lyrics by Bertolt Brecht
Directed by Arne Zazlove
(March 6-16)
Can you see me yet?
By
Timothy Findley
Directed by
Craig Duffy
November 21-24
Dorothy Somerset Studio
10th Anniversary Season
CAROUSEL THEATRE
PRESENTS
THE
PIED PIPER
A New Musical
at the Waterfront Theatre
Granville Island
Nov 10 - Dec 29
685-6217
18 ','/
Exotic Coffees
and
Fabulous Desserts
AAAO

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