Twelfth Night
RSC Stratford upon Avon
***** Five Stars “ Harmonious and Enchanting in equal measure.”
Director Prasanna Puwanarajah breathes fresh life into this 400-year-old play, crafting a production that poignantly explores how humour helps us navigate the depths of mourning. The stage is dark and almost empty, but for a monument to Olivia’s recently deceased brother and a wide, white vista representing the shores of Illyria. The play opens with Viola (Gweneth Keyworth) breaking the horizon, clinging to life as she washes ashore, grieving the loss of her brother to the storm.
The cast is superb, working harmoniously to enrich the world of the play. Every character and interaction add depth to the narrative. Samuel West is delightfully droll as Malvolio, and the scenes between Viola and Olivia (tour de force Freema Agyeman) are quick-witted and deeply amusing. The text has been thoroughly mined for its emotional truths, none more so than in Sir Toby Belch, played by the impressive Joplin Sibtain. Sibtain’s Sir Toby is no mere jolly drunk; instead, he portrays a grieving alcoholic whose exuberance at the party can swiftly turn to rage, offering a darker, more compelling interpretation of the character.
The play’s tone and heart are fully realized with the entrance of Feste, portrayed by the brilliant Michael Grady-Hall. His clown routine is a masterclass, seamlessly blending off-script entertainment with an equally adept performance within the text. Grady-Hall delivers a stellar portrayal of Feste that lingers long after the final bow.
The creative team has woven together a truly enchanting production. James Cotterill’s set and costume design, paired with Matt Maltese’s ethereal musical compositions, create a dreamlike quality that complements the story’s themes. Special praise must go to Zoe Spurr’s lighting design, which is both playful and striking. The lights particularly shine in Feste’s clown sequences and Malvolio’s dramatic interrogation scene.
The main plot involving Viola and Orsino occasionally risks being overshadowed by the lively antics elsewhere, but the final scene brings it all together beautifully. Viola’s reunion with her lost brother is tenderly staged, and each character finds their resolution, save for the hapless Malvolio.
The production is refreshing, original, and so very good, it’s worth a second watch.
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