Twelfth Night (Globe Theatre) 2021 London Reviews and Tickets
About the Show
Production Covid-19 Safety ProtocolsShow-Score Member Reviews (2)
See it if you can.
Don't see it if repulsed by Shakespeare. Read more
See it if you want to wet yourself laughing
Don't see it if you aren't in the mood for a comedy
Critic Reviews (9)
Splashy, slapdash and apparently random on the surface, this show turns out to be delicate and nuanced underneath – the most subtle and illuminating interpretation of Shakespeare here since the Globe reopened.
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It is a production with many tonal variations, from love sickness and romance to drunken revelry and the bitter aftertaste left by Malvolio’s cruel gulling, but all its parts are carefully entwined and contain an impeccable artistry.
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In this playful, cross-dressing exploration of mistaken identity, the Globe’s artistic director, Michelle Terry, makes a winningly fragile Viola. There’s even more to enjoy in the fruity, resonant delivery of Ciaran O’Brien’s dandyish Sebastian.
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The only duff note is drawing cynical laughs via exaggerated regional accents. Otherwise, this Twelfth Night comes close to achieving greatness.
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Writer-director Foster’s production has an enjoyably end-of-the-pier charm about it. He and Philpott work their way through multiple costumes arranged on coat stands, making it all feel like a cosy game of charades.
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Twelfth Night is given a more delicate touch, one that shows plenty of pathos but could do with a little more punch.
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Sean Holmes’ production of Twelfth Night is a conceptual oddity that’s part American Deep South, part Grand Budapest Hotel in terms of its visuals.
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Overall, the production is chaotic, jubilant, and fun, which is exactly what you want from a Shakespeare comedy...Like the music, the production is a bit of a melting pot with something for everyone: romance, comedy, even a bit of violence.
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