Review: TWELFTH NIGHT, Shakespeare's Globe

This seems to be the year of Twelfth Night, with the National Theatre's production recently closing and several other touring companies taking it on. But what better place to bring it to life than the Globe, in Emma Rice's "Summer of Love"? It now plays alongside Daniel Kramer's Romeo and Juliet, making it the first of Shakespeare's comedies being performed there this season.

The classic tale of love and mistaken identities, twins Viola and Sebastian are separated when their ship wrecks, each believing the other to be dead. On Illyria, Viola disguises herself as a boy (Cesario) and goes to serve the Duke Orsino, whilst Sebastian is rescued by a passing sailor. Viola falls for her master, who is persistently wooing Olivia - the countess soon taking a fancy to 'Cesario'. Amidst this love triangle, Olivia's uncle Sir Toby Belch and several accomplices seek their revenge on her steward Malvolio after he threatens to have them kicked out for their rowdy behaviour. As Sebastian then reaches Illyria, confusion sets in and raises the stakes.

Emma Rice's production is set towards the end of the 1970s, also with the Costa Concordia and the eventual Falklands War in her mind; interestingly there is a prologue of sorts, so we actually see the shipwreck and the twins' separation. It's a refreshing move that immediately contextualises the rest of the story, played out using some clever set design (Lez Brotherston) and choreography (Etta Murfitt). Illyria is reimagined as a remote Scottish island, bringing kilts and jigs into the mix as well as flavours of the seventies.

In collaboration with Carl Grose, Rice is playful with the play's structure and makes the most of the number of songs in the original text by incorporating a lot of music. Ian Ross's hugely catchy score brings together a variety of influences, from salsa and disco to punk and Highland reels - it's a credit to the cast and band (bedecked in tartan up on the gallery) that this all gels together and is authoritatively performed.

The cast is incredibly well put together, all providing highlights throughout the show. Anita-Joy Uwajeh and John Pfumojena make one of the most spirited Viola/Sebastian pairings in recent memory; you are truly invested in the outcomes for both of them, rather than Sebastian being a bit of an after-thought. Marc Antolin is a joy to behold as the lisping, clumsy Sir Andrew Aguecheek - he has a knack for comedy and provides some of the funniest moments in the show, including a mischievous and memorable entrance. Watching over events is the insatiable Le Gateau Chocolat, ingeniously cast as Feste.

Over the past 12 months Katy Owen has positioned herself as one of the finest character actors in the business - and her performance as Malvolio only cements that further. Owen may be small in stature but she manages to make her character imposing, though hiding a quiet vulnerability that is preyed on by Sir Toby and company. She attacks the yellow stockings scene with incredible gusto, and ensures the audience are as involved as possible.

Twelfth Night is often seen as Shakespeare's "perfect comedy", and in the hands of Emma Rice and her cast this production certainly lives up to those expectations. It's entertaining, heartfelt and extremely uplifting.

Twelfth Night is at Shakespeare's Globe until 5 August

Picture credit: Hugo Glendinning