It’s safe to say that Twelfth Night is not my favourite Shakespeare play, but I’ve still managed to see some good productions in my time, not least the National’s version a few months back. The RSC’s version, directed by Christopher Luscombe, is also pretty good but very different. Set at the end of the nineteenth century when the age of decadence was in full swing, it makes use of ideas of empire, with a distinct Indian influence – here, the twins Viola and Sebastian are of Indian birth, as is Feste (Beruce Khan), who has become Olivia’s turban-wearing munshi in this production. His obvious dissatisfaction with having to clown around for his mistress’s benefit is a comment on the relationship between the powerful and the powerless, Victorian Britain and its colonies.
It’s the little details that impressed me about this production: not least the green carnation in Antonio’s buttonhole, which – popularised by Oscar Wilde and in common with the mores of the time – signified homosexuality. It lends a significance to Antonio’s care for Sebastian, in a play about gender and sexuality where women fall in love with women pretending to be men, and men fall in love with men who are actually women.
and Esh Alladi are a strong Viola and Sebastian in this production, with Kara Tointon a sympathetic Olivia. Adrian Edmondson is Malvolio, who cuts a figure more tragic than comic – much more appropriate I find, as the humorous teasing directed at him soon becomes cruel. The comic trio of Sir Toby Belch, Sir Andrew Aguecheek and Maria (John Hodgkinson, Michael Cochrane and Vivien Parry) lightens the mood with songs fleshed out by composer Nigel Hess.
This production handles the problems and contradictions of Twelfth Night extremely well, and it’s a seasonal joy to boot. Very impressive.