As the programme for the English Touring Theatre’s production of Twelfth Night proudly declares, the company’s ‘My Favourite Play’ poll placed the work as the nation’s eighth favourite. The task of directing Shakespeare, let alone one of his most well-loved comedies, is clearly a daunting one, not least because of the pressure to do something ‘new’ with the text, to shock and surprise the audience. However, Jonathan Munby’s production maintains a closeness to the spirit and tradition of the text, as well as making bold and confident directorial decisions which bring to life his reading of the play. 

Munby does not shy away from the complications of gender roles and sexuality inherent in the script, making much of the symbolism of costume, and making more explicit certain encounters between characters that are hinted at in the text. He also brings out the climate of loss and uncertainty that pervades the beginning of the play through a set which is at once constant and changeable. The backdrop is both beautiful and ruinous, displaying the grandness of an old house whilst exposing broken windows, cracked paintwork and a few discarded bottles. This somewhat bare stage, a large wardrobe as its only piece of furniture, becomes the backdrop for every scene, transforming the place of action through a number of slick, inventive changes. The wardrobe itself, as an image making clear the importance of clothing and disguise in the play, becomes a vehicle for the action: used variously as a shipwreck, a hiding place and, impressively, as a prison. Grant Olding’s score is effective in enhancing the choreography of these scene changes as well as creating more poignant moments for the fool, Feste. 

Although the performances of the principals were strong, particularly Rose Reynold’s Viola, what stuck out as the most interesting feature of Munby’s direction was the centrality of the sub-plot. The comic characters of Sir Toby Belch (David Fielder), Sir Andrew Aguecheek (Milo Twomey) and Maria (Dona Croll) shone as their physical energy and clear rapport brought to life Shakespeare’s often cryptic punning and jokes. One particular highlight of the show featured the melancholy fool Feste, portrayed by a brilliantly cynical Brian Protheroe, playing and singing as Sir Toby and Sir Andrew sat enchanted by the piano. The tableau, combined with the dim lighting of two candelabras and the almost haunting folk singing created a beautiful (moment) of calm in the midst of the chaotic frenzy of disguise, misunderstanding and mistaken identity. 

The publicity features the famous image of Malvolio’s cross-gartered, yellow-stockinged legs, and throughout the performance, Hugh Ross’s Malvolio truly seemed to be the focus – even during the bows, where he took centre stage. However, though this secondary character gained due recognition of his importance by his centrality, Ross’ portrayal seemed to elicit sympathy from the audience far too early – earning a premature “aww” from a group of students on a school trip. Instead of sharing pleasure in the subplot’s mocking of the ridiculous Malvolio at first and only later becoming aware of our complicity in a far darker scheme, by playing this emotional trump card too soon, the audience does not experience the full effects of this dramatic device. Another confusing motif of the production was the appearance of a burst of red petals at many times during the play. Although visually stunning, the significance of this was not altogether clear or relevant, it seems. 

Nonetheless, this production handles the age-old task of bringing Shakespeare to life for a modern audience by adding new insights and exploiting stimulating visual flourishes. Munby gives his audience a true theatrical treat, as they are transported to the chaotic world of Illyria with vibrancy, humour and song.