Writer: William Shakespeare
Director: Glenn Elston
Twelfth Night, produced by Australian Shakespeare Company, is a witty interpretation of the classic: silly but absolutely funny.
Performed in an open-air theatre, this production makes full use of its surroundings. Although the stage itself remains unchanged throughout the performance, it gradually reveals its tricks, making full use of the hidden spaces within and around the fixed set, as well as moveable trees, when the story unfolds. The surrounding lawns and trees, for example, become extensions of the stage during chase scenes. In short, the production blends seamlessly with the botanical garden.
When it comes to the performances, the entire cast contributes to a unique reimagining of a Shakespearean work that many audience members may have already known well. It is challenging to create a sense of freshness when staging such a familiar classic, yet every character in this farce leaves an impression, particularly servant characters such as the housemaid Maria and Fabian.
Monica Nash’s Maria is full of energy and charm, while Larissa Teale’s Fabian, despite being a relatively minor role, is impossible to overlook because of her seamless interaction with the rest of the cast, even when she has no lines. Another effective choice is presenting Feste (Alex Cooper) like a wandering bard with a guitar, allowing the character to provide the production’s live music and adding a romantic atmosphere, particularly when accompanied by the real sunset. However, in some scenes, the live music gives way to a recorded soundtrack while Feste continues miming the guitar, creating a little inconsistency.
Opening with a chorus-like ensemble accompanied by Feste’s guitar, the production immediately establishes the importance of music and sound. Alongside Feste’s live performance, various sound effects, including pre-recorded effects, songs performed live by the cast, percussion and party blowers, are woven throughout the performance, contributing to its playful energy.
In terms of visual design, beyond the versatile stage, the costumes further emphasise the farcical nature of the play. Their highly saturated colours enhance the production’s playful, dreamlike atmosphere while also reflecting each character’s personality: the more flamboyant the costume, the more comic the character appears. Malvolio’s costume changes, for example, show the dramatic contrast before and after he is deceived into believing that Olivia loves him. The expressive facial makeup also serves the work both practically and aesthetically. It helps distinguish the many characters while creating a taste of mystery, suggesting that this chaotic tale is little more than a one-night illusion.
It is worth noting that much of the comedy is generated through deliberately vulgar, or perhaps simply coarse, humour, such as the distinctly Australian tradition of the shoey, the exaggerated physical comedy and expressive facial reactions. Yet these moments work well. Much of the credit belongs to Tony Rive as Sir Andrew Aguecheek, who throws himself wholeheartedly into the role. Indeed, the most significant departure from Shakespeare’s original may be its shift in emphasis. Rather than foregrounding the romantic plot, this adaptation places greater focus on comic characters and audience interactions.
The production also includes direct interactions with the audience, inviting them to sing, dance and perform alongside the cast. This Twelfth Night is therefore an event that feels particularly well suited to a summer evening, with the sun gradually setting as the story unfolds. As darkness finally falls, the misunderstandings, chaos and comic confusion reach their peak before heading to the happy ending.
Runs until 30 August 2026
