'Twelfth Night' review — this Royal Shakespeare Company production brings out the melancholy in the bittersweet comedy

Read our review of Twelfth Night, starring Gwyneth Keyworth and Samuel West, now in performances at the Barbican to 17 January 2026.

Summary

• Shakespeare's melancholy comedy Twelfth Night comes to the Barbican
• This Royal Shakespeare Company production is directed by Prasanna Puwanarajah
• Gwyneth Keyworth's shipwrecked Viola disguises herself as a boy and complications ensue
• Samuel West gives a nuanced performance as officious steward Malvolio

Despite its title, a reference to “midsummer madness” is usually seen as an argument against setting Twelfth Night during the festive period. Prasanna Puwanarajah’s Royal Shakespeare Company production, which was first performed in Stratford-upon-Avon this time last year, makes some small concessions to the season with a few Santa hats and some decorations in the servants’ hall. However, this isn’t a jolly take as it really ramps up the melancholy elements of this bittersweet comedy.

The show opens with Viola (the plucky Gwyneth Keyworth) washing up on shore after being separated from her brother Sebastian and making the decision to disguise herself as a boy called Cesario and get a job as a page to the local Duke Orsino. There is a ponderous feel to the opening, which permeates the entire production. Despite the many ad-libs throughout, it never feels particularly spontaneous or light on its feet.

Designed by James Cotterill with black and yellow accents, the costumes suggest that it is set at some point in the first half of the 20th century and the set is dominated by a giant organ (as in the musical instrument usually found in church, played by Thom Petty). The instrument has an aura of majesty and is used too for cheeky ad libs to underscore the absurdity. There are also some effective softer musical moments (composed by Matt Maltese): “O Mistress Mine” is particularly lovely and sounds like an authentic 1930s ballad.

Michael Grady-Hall’s chaotic, mime-heavy Feste, who looks like a giant bumblebee in his jester’s costume, serves as the anchor figure, initially appearing in midair. He appears to have been expelled from Olivia’s (a spiky but shouty Freema Agyeman) employ during her time of mourning and is anxious to return. He’s a melancholic clown of irregular moods who frequently breaks the fourth wall, even engaging in a game of catch with the front row during the interval.

There is a nuanced performance by Samuel West as the officious steward Malvolio, who is more disappointed than angry with his misbehaving staff. His claims that he isn’t mad when he’s thrown into solitary confinement and blindfolded are taken seriously by the production, and his vow of revenge, delivered under his breath, isn’t to be underestimated. Joplin Sibtain’s semi-feral Sir Toby Belch and Danielle Henry’s hard-hearted Maria aren’t included in the happy ending as they ultimately leave Olivia’s house together in disgrace, and they probably deserve each other.

Puwanarajah doesn’t fully explore the play’s queer potential. The Orsino/Viola relationship is always tricky but it goes for very little here, with the emo-ish Orsino’s (Daniel Monks) ambiguous sexuality highlighted by the way in which he’s surrounded by a team of smartly liveried manservants who dance together and appear to be in relationships with each other. More successful is the depiction of Antonio’s (Norman Bowman) devotion to Sebastian (Rhys Rusbatch), who initially comes across as timid, but shows himself to be tough when provoked.

More lightness might help bring the show to life. As it stands, it’s a version that accentuates the many strands of weirdness and ennui found in the play, which are often glossed over in more conventionally cheerful productions.

Twelfth Night is at the Barbican to 17 January 2026. Book Twelfth Night tickets on LondonTheatre.co.uk.

Photo credit: Twelfth Night (Photos by Helen Murray)