Twelfth Night, Royal Shakespeare Company Review
Photo by Helen Murray
Written by Hollie for Theatre and Tonic
Disclaimer: Gifted tickets in exchange for an honest review
Caution: This production features: bright and flashing lights and haze.
This year’s festive offering from the RSC is the latest adaptation of William Shakespeare’s comedy Twelfth Night. Twelfth Night is not one of the most popular of Shakespeare’s plays; however, the Royal Shakespeare Company attempts to modernise the story into a funny and light-hearted production this Christmas.
Written in the early 1600s, Shakespeare’s Twelfth Night combines different plots and characters to provide light entertainment and humour to audiences both in the past and in the present. Director Prasanna Puwanarajah brings fresh ideas and perspectives to this production to modernise the comedy and celebrate Shakespeare’s writing.
Act One opens with a shipwreck, as twins Viola and Sebastian become separated. Desperate and upset, Viola disguises herself as page Cesario and is introduced to Illyria by the ship’s captain. Illyria is ruled by a noble duke and over time, Viola begins to fall in love with Duke Orsino. This classic love story becomes complicated, as lives move on after the shipwreck, and several characters conspire amongst themselves in retaliation for each other's behaviour.
Sir Toby Belch, played by Joplin Sibtain, and Sir Andrew Aguecheek, played by Demetri Goritsas, enter stage right and provide the audience with humour and hilarity from that very moment. Together, the actors provide a fantastic duo and can portray their characters with genuine flair and talent.
As the moveable and dynamic scenery expands and is brought to life, it brings with it the introduction of the organ, which is pretty spectacular in real life. Part of Feste the jester’s personality is his way with music. Michael Grady-Hall who brings Feste to life, provides a stand-out performance with his timing, singing and energy. ‘It is better to be a witty fool than a foolish wit’ and Michael brings all of that and more to his portrayal throughout the play.
Composer Matt Maltese brings the production to life with his varied musical scores and pieces throughout the production. The music felt modern and fitting for this particular adaptation and the musicians are all particularly talented. The music provided the comedy with spirit and energy however, it would have been more prominent and effective with accompanying movement and choreography.
This production didn’t quite have the energy I desired all of the time, and it felt particularly long and drawn out in the second act. It is also disappointing that although there were festive touches to the show, it hasn’t felt like there has been a particularly merry Christmas show in the schedule this year after last year’s offering of The Box of Delights. There wasn’t the magic and sparkle that RSC audiences expect.
James Cotterill as the set and costume designer provides a stripped-back set and understated costumes however, this allows for the focus to be on the acting talent which is of a particularly high standard. Freema Agyeman plays an especially charming Olivia and Samuel West plays a frightful and funny Malvolio.
The dialogue felt modern throughout the production and moved the play on easily. There were many laugh out loud moments for the audience and at times audience participation was also expected and provided the show with humour and pace.
I look forward to seeing how the RSC adapts Hamlet and Edward II early next year.
At The RSC until 18 January 2025.
★ ★ ★ ★
