SOURCE: "Reflections," in The Listener, Vol. 92, No. 2370, August 29, 1974, p. 279.

Peter Gill's beautifully clear production of Twelfth Night for the RSC at Stratford is played against a sketch of Narcissus gazing at himself in a pool. And throughout the play, the precision of the direction keeps the pool clear, so that we can see not only the characters, but their endless reflections in one another.

Viola disguised as a man conveying Orsino's love to Olivia who falls in love with what she imagines Viola to be, ad infinitum, can get pretty tedious stuff unless it is as controlled and accurate as a Magritte painting. This control has to be at the expense of some life and virility, and the production's main source of energy is a tremendous Malvolio from Nicol Williamson. Its other, quieter source of life is a touching and moving Viola from Jane Lapotaire.…

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