Perspective one: Hannah Gadd

Twelfth Night is a perfectly festive pick for the RSC’s winter production and I had the pleasure of attending their press night this week. The play centres around the mistaken identities of siblings, Violia (Cesario) and Sebastian, who both presume the other is dead after a shipwreck leaves them washed up on Illyria. Throughout the play the characters deceive and manipulate each other, causing chaos and hilarity as love triangles (or squares) unfold and nonsense ensues. Twelfth Night is my favourite Shakespeare play, so I was excited to see what the RSC would do with it.

After having mince pies and drinks that the RSC provided for press night, we made our way to our seats, which hosted a spectacular view just a few rows back from the stage. The stage was simple, featuring two stone pillars and a rectangular light in the back. The play began with Orsino’s melodramatic ‘If music be the food of love…’ speech, which amusingly featured Feste descending from the ceiling as he sang. Bally Gill really captured the essence of Orsino’s character and played the part effortlessly and humorously.

As we move away from Orsino, we are fully introduced to Feste the fool, through a brilliant, breaking-the-wall, hilarious moment. Michael Grady-Hall was perfect for the role: from his superb singing abilities to his sensational comedic timing, the audience were enthralled by his performance. Through Sir Toby Belch (Joplin Sibtain) and Sir Andrew Aguecheek’s (Demetri Goritsas) dynamic, the comedy continued. There were plenty of moments where the whole theatre was laughing out loud and, of course, the yellow stockings were an absolute highlight. Samuel West’s performance as Malvolio was an absolute treat to behold, and, as he descended down an organ pipe as if it were a fireman’s pole, cross-gartered and adorning yellow stockings, the audience were in a fit of laughter.

The set must be applauded; for the majority of the play a huge organ sits at the back of the stage. This was wheeled forwards at the start of the play and then back at the end, and I thought it was a great touch for a play that features music so heavily. From brilliantly fun costumes to gorgeous pieces of set, James Cotterill did a fantastic job in bringing the world of Twelfth Night to the stage.

Following the interval, we saw more of Olivia’s character (Freema Agyeman) as she unrelentingly tries to pursue Cesario (Gwyneth Keyworth). The two actresses made a fantastic double act and the more chaotic the storyline gets, the more humorous the pair’s relationship is. As the nonsense dwindles and the characters realise what is actually going on, the play comes to a close. Feste beautifully sings us out with ‘Hey Ho, the Wind and the Rain’ before the cast take their bows to a rapturous applause from the crowd.

Once you wrap your head around who’s who (you can find a plot summary here on the RSC website), the play is fairly easy to digest and will guarantee to make you laugh at the very least. This production of Twelfth Night is spectacularly funny and a showcase of immense talent. I would definitely encourage anyone to see it, even if Shakespeare isn’t typically their thing.

Rating: 5/5

Perspective two: Emily Vanstone

“If music be the food of love, play on,” croons Orsino, his opening lament setting the stage for the Royal Shakespeare Company’s latest Twelfth Night. Yet as he ruefully observes, “Tis not so sweet now as it was before”. The play takes its revelry and layers it with something achingly human: a comedy that endures in the face of real grief. Under Prasanna Puwanarajah’s direction, this production treats grief as something raw and undeniable but never insurmountable—a part of life that doesn’t end the story but enriches it. Even in Shakespeare’s Illyria, grief can give way to love. It’s bittersweet, yes, but is that not the point?

And then there’s Feste, delivering the song that lingers long after the curtain falls: “I’ve got a feeling that the world owes me a good year.” Few lines have captured such an achingly universal sentiment with so much bittersweet charm. Composer Matt Maltese, whose music elevates this Twelfth Night, describes channelling “tragic, comic songwriters” to craft melodies that sit at the edge of melancholy and mirth. He calls this tune “the kind of song the last person standing on Christmas Eve might drunkenly sing”. Ultimately, grief is not just acknowledged but transformed, paving the way for love, joy, and resilience. Life continues to dance through mourning, often humorously adorned with yellow stockings.

The production opens on December 5, 2024, in the heart of the Christmas season, and the timing feels perfect. This play is about finding light in the darkest corners, renewal and connection, themes that resonate even more deeply during the holidays. Amid the twinkling festivities of Stratford-upon-Avon, this Twelfth Night becomes a poignant reflection of the season’s bittersweetness: the joy of togetherness, tempered by the shadows of what’s been lost.

From the opening scene, the tone is unmistakable. The stage is stark and sombre, shadowed by gravestones and muted blues, an image of loss so tangible you can almost feel the chill. Yet, even as grief looms, the seeds of festive energy and comedic chaos are already sown, reminding us that resilience is the heart of the holiday spirit. The production contrasts muted grief with vibrant colour, highlighting Olivia’s simple mourning against the play’s lively moments. The yellow stockings, gaudy and unforgettable, symbolise the absurdity present even in the darkest times.

Gwyneth Keyworth dazzles as Viola in her RSC debut, playing her as a survivor: grieving, yes, but never defeated. She brings a disarming vulnerability to Viola’s tangled schemes, tempered by a sharp wit that makes you root for her at every turn. Opposite her is Freema Agyeman’s Olivia, and oh, what a joy she is. Olivia’s elegance is intact, but it’s the humour—the flustered, giddy chaos of a woman smitten—that steals the show. Agyeman perfectly captures the breathless excitement of falling in love. And then there’s Samuel West, whose Malvolio is a masterclass in tragicomic pomp. His descent from self-important steward to humiliated suitor is almost painful to watch—almost. West ensures we feel the sting of Malvolio’s downfall, making us question if the comedy cuts too deep.

But the most surprising turn comes from Sir Toby Belch. Typically a caricature of drunken excess, this Toby is something else entirely—a man numbing his grief with alcohol, his joviality masking a profound sadness. It’s a bold choice, reimagining a character often played for slapstick as a poignant, flawed figure. Suddenly, Toby’s antics feel less like mindless revelry and more like an act of survival. And then there’s Feste, the beating heart of this Twelfth Night. By far the standout, he’s no mere fool. Instead, he weaves Shakespeare’s songs into a haunting modern score, his melodies amplifying the play’s central tension between joy and sorrow. It’s this duality—hilarious and heartbreakingly wise—that cements Feste’s place as both the clown and the conscience of the production.

Running till January 18, 2025, this Twelfth Night is a gift: a production that doesn’t shy away from sorrow but insists on joy anyway. For anyone looking for a reminder of the resilience of laughter—and the sheer humanity of Shakespeare—it’s an unmissable highlight of the festive season.

Rating: 5/5

Twelfth Night runs at the Royal Shakespeare Theatre, Stratford-Upon-Avon, until Saturday 18th January 2025.

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