Review: Twelfth Night, or What You Will (Shakespeare's Globe)

Review by Sam Waite

⭐️⭐️⭐️

One of the great joys of the public domain is that the central concept of a classic piece of art can often be explained using a teen-oriented romcom. Where the likes of Bernard Shaw and Choderlos de Laclos inspired films like She's All That and Cruel Intentions, respectively, William Shakespeare has proven the source for some true classics of the genre. And so many younger millennials worrying these classic works may be lost on them breathe a sigh of relief when first encountering Twelfth Night, or What You Will – “Oh,” they'll say, “Is this like She’s The Man?”

Because yes, both Twelfth Night and She’s The Man find Viola separated from her twin brother Sebastian, and impersonating a young man in order to better assimilate to her new surroundings. Admittedly there are differences – a shipwreck rather than a new school, and nary a game of soccer to be found – but this pop-culture shorthand could prove invaluable to anyone intimidated by Shakespeare's texts. Believing her brother to have died at sea, Viola assumes the guise of Cesario in order to become one of the Duke’s men, tasked with delivering messages of his desire to Countess Olivia. Quickly, Viola falls for Duke Orsino while Olivia is smitten by “Cesario” – and things grow more complicated once the audience discover that Sebastian too has come ashore at Illyria.

Returning to Shakespeare’s Globe after helming the stirring original Princess Essex in 2024, director Robin Belfield brings a wealth of ideas to the table about how to present this tragedy-tinged romantic comedy. Sadly, only some come to fruition, with many moments of promise simply fading into the background or not meshing with the surrounding work. In the second act, homoerotic ideas are introduced – not only the subtext of Olivia’s having initially fallen for a disguised woman, but a genuine and passionate kiss between Sebastian and loyal comrade Antonio – but while these moments had me leaning forward in anticipation of their impact, I found myself disappointed when Antonio’s homosexuality in particular was largely abandoned.

Where Belfield’s directorial vision shines is the more outwardly comedic sequences, particularly as featured in the subplot which finds the supporting cast plotting to humiliate Olivia’s household steward, Malvolio. Here the likes of Pearce Quigley (Malvolio) and Alison Halstead (Maria) are able to bring boundless energy and great fun to the production, while Jos Vantyler is particularly strong as the hysterical and often menacing jester Feste. Though no one among the cast is truly weak or ineffective, the high-comedy scenes are far more engaging, and the first act did feel too slow at times without enough continuous humour.

Sporting a reversed set of costumes, part of Jean Chan’s bright, very attractive wardrobe design, twins Sebastian and Viola are dynamic and endearing as portrayed by Kwami Odoom and Ronkẹ Adékọluẹ́jọ́. Odoom makes the most of what little time he has on stage, his reaction to Antonio’s aforementioned show of affection particularly funny, and the rest of his work across the second act demonstrating great charm and wit. Adékọluẹ́jọ́ is a stellar performer, bringing to life the conflictions and confusion of Viola, proving totally adept at both drama and comedy throughout the performance.

Credit must be given to movement director Ingrid Mackinnon, also acting as intimacy director, and to fight director Paul Benzing. Alongside Robin Belfield’s firm command of comedic scenes, the pair create some truly exciting moments on stage, bringing both passionate angers and lustful moments to life beautifully. Additionally, a cartwheeling moment from Malvolio (a body double carefully covered by a run-up) proves a crowd-pleaser, and the moments of brief engagement with audience members whether passing them by or retrieving tossed-aside props were consistent delights. Also worthy of note is composer Simon Slater, whose compositions add a sense of whimsy and festivity that compliment the brighter and more celebratory of Jean Chan’s costumes for the citizens of Illyria.

With a wealth of triumphant and thrilling ideas and not enough conviction to truly push them into the forefront, this Twelfth Night, or What You Will is charming, light entertainment, but misses the chance to make a bigger mark on the the material. With a commanding leading lady and some utterly enthralling comedic and musical displays, Twelfth Night is a perfectly lovely way to spend a late-summer evening, but it’s hard not to think about the opportunities that weren't taken, of the depth and new ideas that didn't come to fruition.

Twelfth Night, or What You Will plays at Shakespeare’s Globe Theatre until October 25th

For tickets and information visit https://www.shakespearesglobe.com/whats-on/twelfth-night/

Photos by Helen Murray