First published in The Times, Thursday June 30 2016
While cross-dressing is central to the plot and resolution of a number of Shakespeare’s comedies, Twelfth Night occupies its own league as a comment on gender construction and elastic sexuality. The female protagonist spends most of the play dressed as a pageboy, inadvertently stirring the passions of a woman who has forsworn all male suitors while simultaneously harbouring a secret love for a nobleman. Talk about progressive.
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