Review: TWELFTH NIGHT, Starring Mathew Horne, Sheffield Crucible

Shakespeare’s Twelfth Night arrives at the Sheffield Crucible in a production directed by Jamie Glover that offers plenty to enjoy. Physical comedy, inventive lighting and live music give this interpretation considerable theatrical character, even if not every creative choice reaches its full potential.

Following a shipwreck that separates twins Viola and Sebastian, Viola disguises herself as Cesario and enters the service of Duke Orsino. When Olivia falls for Cesario, while Viola develops feelings for Orsino, a tangled web of mistaken identity and unrequited love unfolds. The story remains largely accessible, although certain sections feel slower than necessary, occasionally disrupting the momentum.

Mathew Horne’s Malvolio provides some of the production’s most memorable comic moments, particularly his first entrance in the infamous yellow stockings. The design of this costume allows him the freedom of movement to parade around the stage, fully embracing Malvolio’s absurdity through exaggerated physicality and comic movement. Rather than relying on the visual joke alone, Horne makes the costume an extension of his performance, demonstrating how thoughtful costume design can actively enhance physical comedy.

Physical storytelling is among the production’s greatest strengths. The relationship between Milo Twomey’s Sir Toby Belch and James Chetwood’s Sir Andrew Aguecheek is particularly engaging. Sir Toby’s confidence makes him the more dominant presence, while Sir Andrew’s awkwardness and eagerness to please leave him vulnerable to Toby’s influence. Their use of proxemics communicates this dynamic as effectively as the dialogue, making their relationship an entertaining example of visual comedy.

Katie Wimpenny is a particular standout as Maria. Her distinctive gait, expressive physicality and vocal delivery combine to create excellent comic timing. The urgency she brings to the character helps sustain the production’s energy, demonstrating how physical and vocal choices can breathe life into Shakespeare’s text. Twomey is equally memorable, using exaggerated movements and expressive facial gestures to portray Sir Toby’s drunkenness. His larger-than-life physicality provides some of the production’s strongest comic moments.

The sword-fighting sequence is another highlight, combining hilarious physical comedy with impressive stage combat. The carefully coordinated movements give the scene energy and clarity, allowing the humour to emerge naturally from the action. Yarit Dor’s fight direction contributes to a sequence that demonstrates how technical precision and comic timing can work together to memorable effect.

However, the comedy is inconsistent. Jokes are frequently rushed, with performers sometimes moving on before the audience has sufficient time to respond. When the humour lands, it is genuinely hilarious, making these missed opportunities particularly frustrating. Greater variation in rhythm and more room for laughter could have strengthened the production considerably.

Amanda Stoodley’s set design works effectively within the Crucible’s thrust staging. Cobbled stone flooring and movable stone benches create a simple, adaptable environment that keeps the focus on the performances. 

Richard Howell’s lighting is similarly inventive. A large circular feature at the rear of the stage shifts between sun and moon to establish the time of day. Most strikingly, during Malvolio’s imprisonment, a spotlight shining directly downwards creates the illusion of a cage, communicating confinement through light alone.

Stoodley’s costume design is less cohesive. The mixture of colours, styles and historical influences can feel confusing and visually overwhelming. Nevertheless, Malvolio’s yellow stockings are a magnificent comic choice, perfectly complementing the absurdity of his humiliation and whilst the costume itself is rooted in Shakespeare’s text, its comic impact comes from Horne’s physicality. 

By contrast, Genevieve Dawson’s composition and musical direction are consistently effective. Live music and singing are tastefully integrated into the action, never feeling forced, while the visible musicians contribute to the atmosphere. Raffaela Pancucci’s sound design further supports this musical dimension.

Glover also establishes a striking cyclical structure through the production’s opening and closing images. The opening of an umbrella introduces a visual motif that returns at the end, creating theatrical symmetry before the final blackout. This deliberate echo gives the production a satisfying sense of cohesion, allowing the ending to resonate through its connection to the beginning.

Glover’s Twelfth Night is an enjoyable production whose strongest moments demonstrate the possibilities of physical comedy and inventive stagecraft. Its exploration of disguise, desire and mistaken appearances remains engaging, supported by memorable performances and thoughtfully integrated music. Although rushed punchlines, uneven pacing and inconsistent costumes prevent it from reaching its full potential, the production offers plenty to appreciate. 

Audiences who enjoy Shakespeare through physical performance, visual storytelling and live music will find much to enjoy, even if not every joke finds its mark.

Twelfth Night runs at Sheffield Crucible until 31 October

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