BME Shakespeare is a Cambridge theatre tradition since 2017, becoming The Marlowe Society’s most revered mainshow and bringing in crowds to celebrate diverse cultures and identities. This year’s cast and crew of Twelfth Night promises to sparkle; I sat down with the cast and production team to explore their vision and rehearsal process. Twelfth Night is one of Shakespeare’s most well-known comedies and I was keen to chat to the team about their hard work over the last few weeks, and their conception for this exciting production.

Director Wahida Seisay is keen to keep the energy alive in her production of Twelfth Night. Setting it in a multicultural, diverse city is one way in which she is allowing the individuality of characters to fully develop. She recounts London as an example, explaining that different ethnic groups populate different areas and yet all cultures freely co-exist, creating a beautiful diverse setting which she would like to reflect in her directorial interpretation. Her vision includes modernising some of the Shakespearean language and using contemporary BME artists and music to bring the play into the modern day in a colourful and relatable way.

“Her vision includes modernising some of the Shakespearean language and using contemporary BME artists and music”

Twelfth Night is a story centred around twins Sebastian and Viola, who are shipwrecked and both believe the other is dead. Viola takes on the identity of a man named Cesario, causing much confusion when Sebastian returns, due to the love triangle that Viola has found herself within. It is a plot which plays into contemporary discussion around sexuality and gender norms, and is also a comedic setup which provides fabulous opportunity for different character interpretations.

This individuality in character is crucial to Seisay’s approach. Different cultural costumes and patterns will indicate a character’s origins, she explains, as well as the set’s colour and design. Assistant director Ahana Banerji adds that costume is a big part of their commitment to diversity, including a range of traditional cultural garments. Seisay is equally keen to ensure that each and every actor has a purpose and motive on stage, particularly those with smaller roles, such as Duke Orsino’s servants. She adds: “If you’re going to be on stage, it has got to be worthwhile”. For example, Seisay has crafted a more dynamic character for one of the servants, in that they will be constantly vying for Orsino’s attention, which they will never receive, creating further opportunity for comedy.

Sitting in their rehearsal I was struck by their light-heartedness and the buzzing atmosphere created by their rehearsal of a scene in which Nicki Minaj lyrics made a feature. Jamie Chen’s unfaltering commitment shouting Minaj’s lyrics while in the role of Sir Toby is guaranteed to be a humorous performance; it had the whole room grinning for the entire rehearsal. The cast were in stitches watching each other practise, and it is safe to say I was also having a good giggle. Twelfth Night is one of Shakespeare’s most famous comedies, and from the small fragment I witnessed, Seisay is certainly bringing the best out of this genre.

“If you’re going to be on stage, it has got to be worthwhile”

Equally, it is also a play with a complex plot full of hidden identities, approaching gender identity and sexuality in a famously fluid way. One of the most fun dynamics to play with is that between Antonio and Sebastian, played by Leo Kang and Oluwatayo Adewole respectively. Antonio and Sebastian’s relationship is sometimes argued to stray into the romantic, with Antonio’s attachment to Sebastian echoing other dramatic displays of love in the play, one of Shakespeare’s many nods at the fluidity of sexuality.

Seisay recalls the rehearsals between these two actors as particularly enjoyable, with both actors enthusiastic to explore the dynamic further, with an open and communicative rehearsal process. In many of the other relationships, for example the love triangle between Orsino, Viola/Sebastian and Olivia, Seisay is also keen to play on nuances and underlying currents between the characters, whilst refraining from gender-swapping the characters to ensure the plot remains intact.

Speaking to Banerji and set designer Indya Mason about what drew them to the production – their debut in their respective roles – the theme which emerged was the inclusivity and magnetic environment which BME Shakespeare provides. Walking me through her vision for the set, Indya is keen to also align to the central theme of cultural diversity, with cultural print and levels, whilst ensuring minimal furnishing to distract the audience’s eye. Clearly this annual production is an important part of Cambridge theatre, celebrating and centering marginalised groups. Seisey echoes this sentiment, speaking of her attraction to Twelfth Night as the first Shakespeare play she saw, and her desire to create a similarly engaging and relatable piece which celebrates individuality and cultural diversity.

Talking to this extremely talented cast and crew, I am simply compelled to urge you to see the show. It is shaping up to be a humorous and vibrant production of one of Shakespeare’s classics; a colourful and bold recognition of diversity and community. From the snippet of rehearsal I was able to sit in on, these performers are sure to engage and delight.

BME Shakespeare: Twelfth Night is showing at the ADC Theatre 28th February - 4th March at 7.45pm.