SOURCE: A review of Twelfth Night in Financial Times, February 6, 1975, p. 3.

Even though it had little serious competition, this production by Peter Gill struck me as far and away the RSC's best offering at Stratford last year. And, re-staged for London by Colin Cook, the play still comes across with its original vigour and vitality. Quite simply, Mr. Gill has gone straight to the heart of a magical and mysterious IIlyria, revealing the lovers to be a responsive and complex quartet, continually fascinated and drawn on by the miracle of identify. No romantic twadle, no coy aside here; when Cesario tumbles to the possibility of her white, androgynous exterior having charmed the Countess, the implications are both humorous and disturbing. Words do indeed prove rascals, but outward appearances are doubly dangerous—and, therefore, doubly exciting.

Similarly, I have never before experienced the Olivia/Cesario and the Orsino/Cesario...