Review: TWELFTH NIGHT, Barbican Theatre

“And thus the whirligig of time brings in his revenges.” Following rave reviews, the RSC’s most recent production of Twelfth Night finally makes its way to London as part of the Barbican’s winter season. Directed by Prasanna Puwanarajah, it sees Samuel West, Freema Agyeman, Michael Grady-Hall and others reprise their roles for this limited run - but does this “midsummer madness” feel at home in the festive season?

Soundtracked by music from singer-songwriter Matt Maltese, the oft-overlooked melancholic element to this play is given more attention; perhaps because of this, it takes a little while for the comedy to really come to the fore. I’m not sure that directing the actors to stand and deliver their lines of dialogue directly to the audience so much helps in this either, as it loses any element of spontaneity - what is better is the genuine breaking of the fourth wall at various moments, particularly in Feste’s clowning.

Although the choice to switch the first two scenes around is probably a practical one (judging by the set design), opening with Viola emerging on the coast of Illyria makes more sense to me; it worked in Emma Rice’s 2017 production at the Globe, and it works again here. James Cotterill’s set is definitely full of surprises, at one point a grassy bank appearing and later on a fully functioning pipe organ takes centre stage. There are also some nice little festive touches scattered throughout the production, from Santa hats to humming Christmas tunes - as well as the new song “Maybe This Christmas”.

Gender fluidity and queer identity is baked into the original play, and this is toyed with at different moments in the production. Perhaps the most overt example is Orsino’s household, which moves between high camp and rather tender male interaction; the result of this, however, is that Orsino doesn’t seem to have any interest in women at all - his pursuit of Olivia would be understandable if he feels he has a societal obligation, but to then take advantage of Viola’s affection is opportunistic at best and cruel at worst.

I do often wonder what Viola sees in Orsino to fall in love with him so quickly, and usually conclude that it’s down to his charm or a natural chemistry between the pair - sadly both are lacking in this instance, making it particularly baffling. Given that Olivia doesn’t seem at all put out when Sebastian tells her she “would have been contracted to a maid”, perhaps Viola should cut her losses and work something out with Olivia instead…

Freema Agyeman really comes into her own as Olivia when she becomes enamoured with Viola’s male alter-ego, Cesario, bringing together the affectations of a teenager in love and attempts at asserting her position of power. Contrasting with this is Norman Bowman’s earnest, but no less memorable, portrayal of Antonio - the implications of romantic love on his side being just as important as his public protectiveness over Sebastian.

Emily Benjamin makes an impression as the Priest, especially when she’s rocking her ‘I heart Jesus’ mug, and Daniel Millar is a lot of fun as Fabian with his witty asides. Michael Grady-Hall excels as Feste, with his part-painted face and outlandish costumes; one particular highlight is his interaction with the audience as the interval comes to a close - make sure to book seats in the front couple of rows if you fancy a chance at some participation. Gwyneth Keyworth’s Welsh lilt lends a lyrical quality to her delivery of Viola’s lines, and you can’t help but feel a twinge of emotion as she discovers her brother’s true fate.

In Samuel West’s portrayal of put-upon steward Malvolio, the audience has “greatness thrust upon ‘em” - almost quite literally once he makes his daring entrance, yellow-stockinged and cross-gartered. In a production full of brilliance, his is truly the standout performance. It’s multi-layered, exploring Malvolio’s irritating fastidiousness, his penchant for celebrity gossip, and also his more human side; there is a pin-drop silence as he declares his intent to seek revenge.

Although it does take a little while to warm up, once it finds the balance between comedy and drama there is a lot of fun to be had with this production. If you’re seeking alternative festive fare this season, then look no further than the Barbican.

Twelfth Night is at the Barbican Theatre until 17 January 2026

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