Nick Smurthwaite reports that you feel like you may well be watching the stars of tomorrow, during this deliciously irreverent production.
No stranger to gender swapping himself, Shakespeare would likely have been the first to applaud the National Youth Theatre's deliciously irreverent version of Twelfth Night, which was defined and enlivened by its gender and race-blind casting.
Staged in the NYT's well-appointed studio theatre at its HQ in Holloway Road, North London, just before Christmas, it had a suitably festive vibe, with nine upended Christmas trees suspended from the ceiling, festooned with LED-sprinkled tinsel. Sensibly, director Meghan Doyle (the fifth recipient of the NYT's Bryan Forbes Assistant Director Bursary) focused on performance and vocal delivery rather than anything too elaborate in terms of design.
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