"Twelfth Night" review

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Shakespeare’s twelfth night is inevitably marked with deep social insight. The differences in power, the paltry of gender and social identity are all equally put into question in this seemingly light hearted comedy.

The start of the play introduces us to the motive of our main character, Olivia and casts light unto the main problem that has to be resolved through the course of this play; the separation of twin brother and sister, who if not for their infallible discriminator “sex” would just as easily be put in each other’s shoes without triggering any significant event to throw the balance of our characters into confusion.

Indeed from the get-go the fact that Viola’s ‘gender-switch’ and Sebastian’s ‘character-switch’ did not shock anyone out of their sealed matrimonial bliss or the attainment of such a prospect seems rather foolhardy to miss and in considering the Bard’s infamous dramatic puppetry, they are such issues as we have to get to the bottom of, scraping a glimpse, if not an epiphany that would resurrect the act’s glamour from it’s ancient casket.

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Assuredly, Sebastian, on receiving the news of his sister’s disappearance falls into the supposition that she is dead, and with little remorse kicks off with his pal Antonio to the arms of freedom, where no embrace shall feel the smother of bondage, where it between the closest relatives even. His sister, though, rises to the occasion and with undying hope declares her brother’s survival, and her quest to bring his authority into this expectation. Here, we see where the pall of gender lies. Though Sebastian and Viola are not of any distinguishing feature that might divide the cast’s opinions about ...

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