Royal Shakespeare Company’s Twelfth Night Brings “Dazzling Light” to London’s Barbican
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A critically acclaimed production of Shakespeare’s Twelfth Night, lauded for its emotional depth and innovative staging, has transferred from Stratford-upon-Avon to the Barbican Centre for a limited run, promising a timely exploration of grief, desire, and the enduring power of human connection. The production, directed by Prasanna Puwanarajah, recently earned a UK Theatre Award and has captivated audiences with its nuanced interpretation of the classic comedy.
A Humane Take on Shakespeare’s Comedy
The production’s stars – Gwyneth Keyworth (Viola), Michael Grady-Hall (Feste), and Daniel Monks (Orsino) – spoke to the unique challenges and rewards of bringing this vision to a new audience. A central theme emerging from their discussions is the play’s ability to balance profound sadness with moments of levity, a combination that resonates deeply with contemporary audiences.
Feste: The Unconventional Heart of Illyria
According to one reviewer, Grady-Hall’s portrayal of Feste, traditionally a more peripheral character, is now at the core of the show’s energy. Grady-Hall himself describes Feste as “arguably one of Shakespeare’s most liberating creations,” an outsider unbound by societal constraints. “The fool is an outsider; they don’t fit neatly within Elizabethan society, and that gives you incredible licence. You can truly make the character your own, playing in ways other roles just don’t allow.”
The rehearsal process was remarkably collaborative, drawing inspiration from a wide range of comedic influences. Grady-Hall explained, “It became far more clown-like than we first imagined. We were stealing jokes, watching endless YouTube clips, and stitching together nods from Keaton, Chaplin, old music-hall routines, even borrowing piano tricks from Victor Borge. The result sounds like it’s the Bayeux Tapestry of clowning – woven from a thousand sources.”
However, this Feste is far from a mere observer. Grady-Hall and Puwanarajah developed a backstory suggesting Feste’s return to Illyria is driven by a desire to heal and help those grappling with grief. “There’s a backstory: Feste’s been away and returns to Illyria. Why? I think he has a mission – a feeling that he needs to fix problems or aid the recovery of people stuck in grief. That idea gave me a way in, framing him as someone who isn’t just poking fun at Malvolio but actively shaping the world.”
The move to the Barbican presents a unique challenge, requiring adjustments to connect with a larger audience. “The Barbican is huge, and it completely changes how you connect with the audience. Even our pre-show and interval games will need rethinking to fill that space. But having the company back together, with Daniel joining us, is a gift.”
Orsino: A Duke Defined by Vulnerability
Joining the company is Daniel Monks, known for his work in The Seagull and Teenage Dick, who takes on the role of Duke Orsino. Monks initially hadn’t considered the role, but Puwanarajah’s empathetic approach proved irresistible. “Orsino was never on my radar,” Monks admitted. “But Prasanna’s approach, which is so deeply empathetic, excited me. When I reread the play, I realised this role is so different from what I usually play.”
Monks aims to portray Orsino’s emotional complexity, moving beyond the character’s initial pomposity. “He’s often remembered for that early pomposity – ‘If music be the food of love…’ – but he melts in a really specific, almost innocent way.” He emphasized the importance of authenticity, stating, “He’s complex, not just a standard love interest. He’s weird, led by raw emotion rather than intellect. Prasanna always says: ‘Play the truth – that’s where the comedy lives.’ And it’s true; the comedy comes from people’s honest, desperate situations.” Monks, who prioritizes stage work despite numerous screen opportunities, considers the theatre his “home.” He particularly praised his scenes with Keyworth, calling her “incredible” and Grady-Hall’s Feste “one of the most beautiful performances I’ve seen in Shakespeare.”
Gwyneth Keyworth, a WhatsOnStage Award winner, delivers a portrayal of Viola/Cesario marked by both strength and vulnerability. Keyworth believes the production’s success stems from its willingness to embrace contradiction. “Prasanna plays with the idea that while Twelfth Night is full of joy, it begins in grief,” she explained. “The comedy is derived from that truth – from people in desperate situations trying to find a way through. That’s why it moves me so much.”
Keyworth also highlighted the relevance of Viola’s gender disguise in contemporary society. “Viola moves into a masculine shape, Cesario, and in doing so, she gains an agency she would never have been permitted as a woman in Illyria. The question is: how can she ever go back after that experience? Gender exists on a spectrum, and Shakespeare understood that complexity.”
Ultimately, Keyworth sees Viola’s journey as a metaphor for processing pain. “You can’t avoid grief; you have to go through it. That’s what the play shows,” she concluded. “The darkness is what makes the light brighter, and Shakespeare knew that deeply—he wrote this after losing his son. You feel that ache beneath all the silliness and the music.”
As Monks succinctly put it, “When times are cold and lonely, people come together to find light and silliness. That feels so resonant right now. Watching it feels like turning on fairy lights in the depths of winter. I laugh and I cry every time.”