TWELFTH NIGHT

Cambridge Arts Theatre

★★★½

“beautifully staged and sharply directed”

Cambridge University’s historic Marlowe Society presents Shakespeare’s tangled comedy, ‘Twelfth Night, or What You Will’. The student cast and professional creative team offer a vibrant, fresh take though the line between seasoned craft and eager amateurism is sometimes evident.

Shipwrecked in the strange land of Illyria, Viola believes her twin Sebastian is drowned. To survive, she assumes a male identity and slips into Duke Orsino’s household as a page. ‘Cesario’, swiftly winning Orsino’s favour, is sent to court the mourning Olivia in Orsino’s stead. No-one foresees how fast the flames of love will fan in all directions. In this tangle of longing and mistaken identity, can love truly conquer all?

Michael Oakley’s layered direction, with student assistant Sophia Orr, gleefully taps into mischief and duality. Queer coded subtexts are brought to the surface with a tender, modern touch. Comedy abounds: Malvolio’s transformation is delightfully deranged, troublemakers burst out of bushes before diving back in for the postscript, and balloon hearts materialise unexpectedly, all buoyed by jaunty folk music. Crucially, it’s tempered with just enough sobriety to give weightier moments punch. It’s visually beautiful, with “What You Will” shapeshifting in line with the plot’s knots and unravellings. Though the quintessentially British setting softens Illyria’s sense of strangeness. Some sections feel a touch static, though Malvolio’s yellow stockinged showcase is spot on. Alison de Burgh’s fight direction injects real flair into the confrontations, from jokey flailing to bare knuckle blows.

‘Twelfth Night’ is among Shakespeare’s most musical plays, and the score provides an understated yet essential heartbeat. The folk style feels timeless, with a soothing, lilting breeziness that heightens the poignancy of Shakespeare’s lyrics. Musical Director Gabriel Owens and onstage band (Eva Cotton, Sophie Wallis, Nat Riches, Reuben Karas, Charlie Harrison) interpret the score with sensitivity and precision, though there are a couple of early entries and Feste tries to sing every line in the final song’s overlapping structure.

Ingrid Hu’s scenography is stunning. The morphing “What You Will” doubles as furniture and incisive commentary. I unironically love the balloon hearts, instantly giving each character’s romantic arc a unique flavour. Minimalism blends with realism through simple blocks and detailed props. The band’s unobtrusive onstage presence adds physical and metaphorical texture.

Christopher Nairne’s lighting design is beautiful, creating subtle shifts in tone and emphasis that quietly amplify the poetry and energy of each scene.

Anna Wood’s sound design expertly blends ambient sounds, effects, band and vocals into a cohesive soundscape. The thunderclaps bookending the production underscore how closely things skirt tragedy, though there is noticeable feedback in Malvolio’s prison scene.
Hu’s costumes are impeccable. The clear concepts and clean tonal palette keep each role sharply defined, with Malvolio’s gloriously incongruous garb an undeniable highlight.

The student cast delivers assured work overall, even if some casting choices feel a little back to front. Eddie Adams’ Malvolio steals the show, transforming from pompous to love struck to vengeful with skill. Stella Williamson’s Feste is delightfully free spirited, with gorgeous vocals making for a perfect jester. Theo Francis’ Sir Toby possesses instinctive comedic flair and raucousness that contrasts perfectly with Malvolio’s stuffiness. Max Parkhouse gives Antonio a deeply human edge, making Sebastian’s whirlwind marriage quietly heartbreaking. Elizabeth Peni Brooks’ Maria is wonderfully layered, blending quiet authority, simmering resentment and irresistible charm. Jacob Mellor’s Orsino balances toughness with tenderness and Toby Trusted captures Sir Andrew’s foppishness with ease. However, some principal roles feel a little stiff, with weak projection and occasional gabbling blunting the emotional weight of their scenes. The chemistry between the central couples is also underpowered, making their sudden unions harder to invest in.

Though imperfect, Marlowe Society’s ‘Twelfth Night’ is beautifully staged and sharply directed. Offering some strong student performances, it’s a great tonic for the January blues.

TWELFTH NIGHT

Cambridge Arts Theatre

Reviewed on 21st January 2026

by Hannah Bothelton

TWELFTH NIGHT

★★★

“a charming, spirited take on this musical theatre classic.”

‘Guys and Dolls’ lands in Cambridge courtesy of the Cambridge Operatic Society, a seasoned amateur society known for high quality staging. As the only non professional company to grace the Cambridge Arts Theatre stage, expect a show packed with charm and ambition, if a little rough around the edges. But then, who isn’t?

In 1950s New York City, small time hustler Nathan Detroit needs dough to keep the heat off his illegal craps game – so he wagers high roller Sky Masterson that Sky can’t charm missionary Sarah Brown into a trip to Cuba. Meanwhile, ageing showgirl Miss Adelaide finds her patience wearing thin with marriage shy Nathan, and Sarah’s mission is on the line without more ‘sinners’. By helping each other, maybe they’ll end up lucky in cards and love.

Jo Swerling and Abe Burrows’ classic book receives a subtle lift of modernity under Helena Petrovna and David Barrett’s direction, choreography and production. Yes, there are ‘Noo Yawk’ accents, neon lights and circle skirts; but there’s also pleasing takes on time worn tropes. Sarah boldly initiates all the kisses; a line swap lets Sky side-step non-consensual drinking; Adelaide is humanised beyond the ‘long suffering fiancée’ archetype; likewise Nathan shows affection long before ‘Sue Me’. Perhaps most pleasingly – and unexpectedly – Arvide Abernathy subtly reveals a lost queer love, adding poignancy to hope. All scenes are dynamic, bringing the characters and setting to life. The choreography is a little mixed, with a show-stopping ‘Sit Down, You’re Rockin’ the Boat’ sitting uneasily alongside cheesier numbers. Though thanks to the thoughtful interpretation, the production retains a certain charm.

James Harvey’s musical direction boosts Frank Loesser’s score with a brassy 20-piece band. Some entries and intonations could be tighter, but the overall effect remains impressive for an amateur production.

The set design conjures New York with smart use of levels and light strips, while onstage screens supply visual detail – including the delightful correction of a certain Bible quote.

Dominic Plunkett’s lighting deftly evokes the skyscraper silhouette of nighttime New York, offering a pleasing contrast with balmy Cuba. The base state could use a touch more attention, with slightly patchy cover.

Jonathan Armitage’s sound design, supported by Sophie Ruh and Rhydian Green, fills the space with orchestra, voices, and ambient sounds that place us in the streets and the sewers. The balance and mic cues could use fine tuning, with an overpowering orchestra and some late entries breaking the flow.

The costume design evokes the 1955 film, with crisp red missionary uniforms and sharp suits of the gamblers. The Hot Box girls sport suitably saucy numbers and, in the spirit of gender equality, so do the men at one point (!). Everything loosens in the shift to Cuba, though clothing a Cuban child in a sack feels like an unnecessary misstep.

The four principals are fantastic, with Saskia Edwards-Korolczuk’s Sarah and Luke Thomas’ Sky offering assured, engaging performances with standout vocals. Vikki Jones’ Adelaide is irresistibly charming, with a confident accent, nuanced characterisation and soaring vocals giving her great warmth and humanity. Scott Riley’s Nathan has easy comic rhythm, gentle tenderness and secure singing, making him an endearing hustler. The remaining company is more variable, particular the gabbling gamblers who lose stretches of dialogue and lyrics. The ensemble’s enthusiasm is undeniable, but a touch more precision would help their work land with greater impact.

With commanding leads, richer characterisation and some genuinely fabulous vocal work, the Cambridge Operatic Society’s ‘Guys and Dolls’ delivers a lively, good hearted night out. It may not reach West End heights, but it’s a charming, spirited take on this musical theatre classic.

Tag Archives: Cambridge Arts Theatre

TWELFTH NIGHT

★★★½

Cambridge Arts Theatre

TWELFTH NIGHT

Cambridge Arts Theatre

★★★½

“beautifully staged and sharply directed”