SOURCE: A review of Twelfth Night in Plays and Players, Vol. 5, No. 9, June, 1958, p. 13.

What a rib-tickling, refreshing Twelfth Night Peter Hall has conjured up for the second production of the Stratford season; a production that is smooth and gay and brimming with new ways to play old tricks.

Dorothy Tutin's golden Viola is wonderfully boyish, breathless and bewildered and always completely audible. She is alive, and to be alive in a cast like this means working double overtime.

To force Olivia to play for laughs while surrounded on all sides by comedians with far better lines does not give the actress a fighting chance, but Geraldine McEwan, with her piping voice and plaintive little gestures, draws such sympathy from the audience that the approach is almost justified.

Richard Johnson plunges from the high tragedy of Romeo to the foppish, foolish Andrew Aguecheek and scores brilliantly, creating—by...