PRINCIPAL CAST: Tony Armatrading (Orsino); Brian Capron (Feste); Richard Durden (Malvolio); Rebecca Egan (Viola); Christopher Good (Sir Andrew); Alexandra Mathie (Olivia); Campbell Morrison (Sir Toby); Helen Ryan (Maria).

This production ran from 9 February - 11 March 1995.

"Opera director David Poutney's bold staging, on his theatrical debut, has Illyria as a land of modern art. Huntley/Muir, the design team, allude eclectically to abstract and pop artists. Viola, shipwrecked and kissed back into consciousness by a Mercury-like Captain, finds herself on a seashore of sculptures and primary colours. To her left, there is a striped cylinder: the bottom of a lighthouse; possibly phallic. To her right, there is a Robert Morris-style dolmen, scarlet, with a narrowing cleft: a doorway or eroded rock; vaguely female. Confounding exterior and interior, there is a Hockney swimming pool, on the beach but full of pillows. This is the 1960s....The women are wonderful in this production. Rebecca Egan's slim-limbed, determined Viola is effortlessly boyish and simultaneously a supermodel. Resting her hand on her hip, is she a 1990s girl in a man's suit, or a boy with an effeminate flair of the 1960s/1920s? Olivia, falling for woman and man, comes from Woolf's era."  ~ Kate Bassett, "Sixties midsummer madness", Times, 15 February 1995

"There are several fine performances. Best is Christopher Good's wonderful Andrew Aguecheek, a greying mophead, modish but fretful...However, Poutney's inexperience in spoken theatre is evident in the rest of his casting. Rebecca Egan...has an appealing quality, and is exceptionally convincing in male disguise; but this young actress is still aiming more at making effects than working from within...Tony Armatrading is a thuggish, simple Orsino: poor Viola."  ~ Alastair Macaulay, "Twelfth Night", Financial Times, 14 February 1995