Twelfth Night – Crucible Theatre, Sheffield

Writer: William Shakespeare

Director: Jamie Glover

This is an absolutely joyous evening’s entertainment, with a truly stunning set, simply and effectively directed, placing Shakespeare’s timeless lines at the heart of the show, which the talented cast deliver on in spades. It’s extremely funny, with some fabulous performances, incredibly atmospheric music and a heart as big as the huge sun that is a constant at the back of the stage. It’s a limited run, so get your tickets now!

Amanda Stoodley’s glorious set proves the idiom that ‘less is more’ – a huge sun as a backdrop (very reminiscent of Olafur Eliasson’s sun at Tate Modern in 2003), covered over at times by stunning gossamer drapes that partly obscure it and the actors, and the wonderful Crucible thrust stage is empty save three massive stone benches, which move seamlessly on a revolve. The combination of the sun, the gossamer drapes, the lighting and the musicians provide an incredibly atmospheric setting for the show. Simplicity itself, but all you need when you have this glorious play, well performed.

The admirable David Birrell as Feste the fool, and the three excellent musicians Hazel Monaghan, Nicholas Hann and Evie Hilyer-Ziegler bookend the show with ethereal music by Genevieve Dawson which sets the scene and finally promises to ‘please us every day’. Birrell’s Feste is commanding – from his upright bearing and determined gait, to his strong vocal delivery and singing, long flowing hair and capacious greatcoat. He has less the feel of a fool or servant and more of magician or conductor, controlling proceedings, Prospero like.

Twelfth Night begins with a shipwreck, during which the twins Sebastian and Viola are separated, each believing the other dead. Director Jamie Glover chooses an innovative way to present the storm through sound and movement – cleverly using step ladders to recreate the bow of the tossing ship and the agonising distance between the twins as they are torn apart.

The twins then go their own ways – Viola seeking protection by pretending to be a man and taking up employment with Count Orsino, and Sebastian joining forces with ships captain Antonio, convincingly played by Mark Holgate. The final scene of course sees them reunited after a sequence of happy and hilarious misunderstandings where each is mistaken for the other.

There are a number of stand-out performances: James Chetwood as Sir Andrew Aguecheek, who delightfully captures this hapless, gullible, camp and silly character and lands every one of his one-liners with aplomb (‘I was adored once too’, ‘That’s me I warrant you’); Matthew Horne as the equally gullible but self-serving Malvolio; and Katie Wimpenny as the scheming servant Maria who hatches the plot that leads to Malvolio’s downfall.

The show has a great sense of pace – the over two and a half hours’ performance passing in a flash. Hilarious moments abound – from Sir Toby and Andrew’s revels that wake the entire household; to the non-fight between Sir Andrew and Viola; and the final scene where the twins appear together to the astonishment of all.

You might quibble with some of the casting – a slim and very fit-looking Sir Toby Belch; a rather un-regal Count Orsino; and a frail Viola/Cesario that stretches the believability of Olivia’s attraction to him to snapping point; but these are just quibbles. The quality of this captivating ensemble production more than compensates.

Runs until 31 October 2026