Twelfth Night, or What You Will at Shakespeare’s Globe
To this day, the influence of Shakespeare’s circa 1601 play, Twelfth Night, or What You Will, is unmistakable. The misunderstandings, love triangles and humour borne from chaos are hallmarks of modern comedic fare. And though the Bard’s lexical style may be inaccessible to younger generations, Robin Belfield does a stellar job of keeping the audience enthralled with his thoroughly enjoyable production of the classic text.
It has long been argued that Shakespeare essentially invented soap operas, and the plot of Twelfth Night is testament to this. Twins Viola (Ronkẹ Adékọluẹ́jọ́) and Sebastian (Kwami Odoom) are shipwrecked, each believing the other to be dead. Disguising herself as a man named Cesario, Viola enters the service of Duke Orsino (Solomon Israel), who is in love with the bereaved Olivia (Laura Hanna). Meanwhile, Viola falls in love with Orsino, while Olivia becomes besotted with Cesario, ie Viola. It’s an interactive theatre experience, with the actors offering a wink and nod to the plot’s inherent absurdity. Characters fall in love instantaneously, supporting players are perpetually inebriated, and even Olivia’s opulent mourning attire is played for laughs.
The production is an aesthetic triumph. Shakespeare had a wonderful way of using colours as symbolic literary tools, and the wardrobe team brings vibrancy to an era seeped in browns and beiges. The costumes are lush with greens and yellows, emphasising the frivolity of the narrative.
Adékọluẹ́jọ́ is an exemplary lead, working wonderfully alongside Israel. The pair has palpable chemistry as the latter struts and swags along the stage. Likewise, the homoerotic allusions are poignantly channelled by Adékọluẹ́jọ́ and Hanna, as well as Odoom and Max Keeble, playing Sebastian and Antonio respectively. As Lady Belch, the fantastic Jocelyn Jee Esien stands out; her comic timing is nothing short of impeccable.
Belfield is not afraid to put his own stamp on the Bard’s comedic masterwork. Littered with anachronisms, characters wear Converse and Dr Martens and throw in contemporary slang every so often. Meanwhile, Esien gives a brief impromptu rendition of Kendrick Lamar’s Not Like Us, much to the crowd’s delight. A key innovation of this production is audience participation, with unassuming guests in the stalls scooped up on stage by Emmy Stonelake and Jos Vantyler, both of whom are a joy to watch as Fabian and Feste.
It’s a little farcical, however, with the misunderstandings occasionally coming across as more bawdy British sitcom than Shakespearean hijinks. There are times when the meta elements veer into panto-esque, and thus illusion-shattering, territory. That said, the fourth wall-breaking gimmick ultimately works due to the unwavering professionalism of the cast, which appears to alleviate the audience volunteers’ initial embarrassment. And while it may not be for the purists, the reaction in the stalls suggests that these stylistic choices may be key to endearing younger generations towards the Bard.
Full of laughs, lust, and love triangles, Twelfth Night, or What You Will is exuberantly executed. A memorable production, it will no doubt enchant the more Shakespeare-averse.
Antonia Georgiou
Photos: Helen Murray
Twelfth Night, or What You Will is at Shakespeare’s Globe until 25th October 2025. For further information or to book, visit the theatre’s website here.
Watch the trailer for Twelfth Night, or What You Will at Shakespeare’s Globe here:
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