Twelfth Night is a play of mistaken identity, disguise, mischief, and trickery, whilst exploring the themes of love, unspoken longing, and the contrast between joviality and melancholy. Shipwrecked twins Viola and Sebastian are separated in Illyria with no knowledge of the other's survival. Viola disguises herself as Cesario and enters the Court of Duke Orsino, who finds himself struggling with unrequited love and adoration for Olivia. This web of romantic confusion involving Olivia, Orsino and Viola, in addition to the lively servants of the courts, is underscored by music, humour, and moments of contrasting melancholy.
Freema Agyeman and Gwyneth Keyworth deliver exceptional performances, grounding the play with clarity and confidence. It is through disguise and mistaken identity, alongside their embodiment of Olivia and Viola/Cesario, which highlights the comedic nature of their relationship. However, the standout performances are delivered by Michael Grady-Hall as Feste and Joplin Sibtain as Sir Toby, which are riotous and wholly unrestrained.
This production of Twelfth Night at the Barbican, directed by Prasanna Puwanarajah, brings Shakespeare's comedy firmly into the 21st century. While the play is known for its wit and warmth, this version, especially with the scenery choices, is incredibly dark, both visually and tonally, feeling confused at times, particularly given its “comedy” status. The sparse stage scenery draws attention to its own minimalism, occasionally sharpening focus on the graves and the instruments that are brought on; however, at times, it creates an underdeveloped and bare aesthetic. The contemporary language choices and modern costumes, although prompting regular laughter from the audience, occasionally fall flat and sit at odds with the text and pull focus.
Music is the greatest strength of this performance and is key to this play. Matt Maltese's original compositions complement Shakespeare's verse and song, fitting in seamlessly with the story and the characters. The incredibly amusing “Maybe This Christmas”, shared by Feste, Sir Andrew Aguecheek and Sir Toby Belch, in addition to the final scene performance of “The Wind and the Rain” by Feste, linger with the audience long after the curtains are drawn. The sombre, melancholic and deeply powerful rendition from Michael Grady-Hall unites the production through the connection of audience, space and tone.
This production of Twelfth Night is a play of contrasts: light and dark, music and silence, comedy and mourning. Although excelling in performance, musicality and characterisation, the production occasionally feels unsure of itself in connection. Despite these gaps, there is no doubt that this is an incredibly compelling performance that rightfully leans heavily on Feste to provide the audience with the humour and sombre moments that are expected from Shakespeare's fast-paced romantic comedy.
It runs until 17 January.
Review: Charlotte Armstrong Photo: Helen Murray