The Guardian 12 July 2021

You can see why director Gordon Barr chose to set Twelfth Night in the wings of a theatre. Heather Grace Currie’s design – all ropes, dressing-room lights and velvet curtains – places Shakespeare’s comedy in a world of pretence. All it takes is a new costume from the wardrobe, and your identity has changed.

This is not just responsive to the play’s theme about the unreliability of outward appearances – whether that be the confusion sown by identical twins or the embarrassment of a man tricked into wearing the wrong clothes. It is also, with a cast of six, a pragmatic way of fielding the key characters. If it means by the end we are watching Jennifer Dick as Orsino (a woman playing a man) falling for Stephanie McGregor as Viola (a woman playing a woman who has just been pretending to be a man), well, it only adds to the merry questioning of the true nature of love. [READ MORE]

By Mark Fisher

MARK FISHER is a freelance theatre critic and feature writer based in Edinburgh and has written about theatre in Scotland since the late-1980s. He is a theatre critic for The Guardian, a former editor of The List magazine and a frequent contributor to the Scotsman and other publications. He is the co-editor of the play anthology Made in Scotland (1995), and the author of The Edinburgh Fringe Survival Guide (2012) and How to Write About Theatre (2015) – all Bloomsbury Methuen Drama. He is also the editor of The XTC Bumper Book of Fun for Boys and Girls and What Do You Call That Noise? An XTC Discovery Book (both Mark Fisher Ltd).