★★★★☆
Love, mistaken identities and plenty of mischief take centre stage as Jamie Glover’s Twelfth Night arrives at Sheffield’s Crucible Theatre. With a strong cast, clever use of lighting and music woven throughout the show, this production brings Shakespeare’s comedy to life – while reminding us that there can be a dark side to all the fun.
The play follows Viola, who survives a shipwreck that separates her from her twin brother, Sebastian. Believing him dead, she disguises herself as a young man named Cesario and enters the service of Duke Orsino. When Orsino sends Cesario to woo Olivia on his behalf, Olivia falls for Cesario instead, while Viola develops feelings for Orsino. The result is a messy love triangle, made even more complicated by mistaken identities and a collection of characters who are often their own worst enemies.
The set design by Amanda Stoodley is a particular strength in this play. The simple stage allows the action to move between scenes without losing the atmosphere of each setting. The opening shipwreck is especially effective, using movement and staging to convey the chaos of the storm without needing an elaborate set. Richard Howell’s lighting works just as well, particularly during Malvolio’s imprisonment. A single spotlight makes his confinement feel almost cage-like, drawing the audience into his isolation. It is a simple effect, but one that leaves a strong impression.
Mathew Horne as Malvolio is a performance worth looking out for. He takes the character from a pompous, disapproving servant to the butt of one of Shakespeare’s most famous jokes, before revealing the more painful side of his downfall. His appearance in the infamous yellow stockings is a comic highlight. Horne makes the most of the costume through exaggerated movements and physical comedy that the audience cannot look away from. Yet Malvolio’s story is not entirely funny. When a prank goes too far and he finds himself imprisoned, it becomes difficult not to feel sorry for him. Horne handles this change particularly well, making us laugh at Malvolio before reminding us that there is a person behind the joke.
David Birrell’s Feste, Olivia’s fool, is particularly memorable. Shakespeare’s fools often seem to know everything and nothing at the same time, using humour to expose the foolishness of those around them. Birrell captures this wonderfully. His songs are not merely entertaining; they also bring a quieter, more thoughtful side to the play. Genevieve Dawson’s music is another of the production’s highlights. It fits naturally into the action, adding to the atmosphere without interrupting the story.
The comic trio of Katie Wimpenny’s Maria, Milo Twomey’s Sir Toby Belch and James Chetwood’s Sir Andrew Aguecheek is among the strongest aspects of the show. Twomey makes an excellent drunken uncle, bringing so much energy to the stage that his entrances alone are reason to look forward to the next scene. Wimpenny matches him with sharp delivery, expressive movements and a clear enjoyment of Maria’s schemes. Chetwood completes the trio as an endearingly foolish Sir Andrew, whose eagerness to impress makes him an easy target for Toby. Together, they make the scenes surrounding Malvolio’s prank particularly entertaining.
For me, however, Bebe Sanders is the star of the show as Viola. Being a character at the centre of the play’s confusion, Sanders keeps the story moving while giving Viola plenty of warmth and personality. Even when the attention is elsewhere, her reactions help keep the audience engaged. Her chemistry with Justina Kehinde’s Olivia is particularly enjoyable, with Olivia’s confession of love standing out as one of the evening’s best scenes. Both actors make the awkwardness of the situation funny and convincing, giving the audience plenty to enjoy in a relationship built on a misunderstanding.
Overall, Twelfth Night is a thoroughly enjoyable production, driven by a cast that brings out both the humour and the heart of Shakespeare’s play. The simple set, effective lighting and well-integrated music provide an excellent backdrop, while the performances ensure that the comedy never feels distant or inaccessible. Malvolio’s fate also offers a reminder that not every character gets a happy ending, even in a comedy.
Jamie Glover wanted audiences to leave feeling a sense of magic, and this production comes close to delivering exactly that. Four centuries after Shakespeare wrote it, Twelfth Night still has plenty to say about love, foolishness and the trouble people get into when things are not quite what they seem.
Twelfth Night runs at the Crucible Theatre until Saturday, October 31.
