TWELFTH NIGHT

Kew Gardens

★★★★

“a delight to watch, under the stars, where magic blends with mayhem”

The Australian Shakespeare Company’s press release promises to bring an “eventful” (their quotation marks) production of Shakespeare’s “Twelfth Night” to the grounds of Kew Gardens this summer. For once, this is no mere promotional embellishment. Their lively take on the bard’s romantic comedy is, indeed, chock-full of memorable moments and offbeat surprises. They are the Lords of Misrule. Shakespeare would applaud their sense of mischief and bear no grudges whatsoever as they happily run amok with all the liberties they have taken.

It is a kind of creative chaos, but one that still allows the clarity of the text cut through. Each performer has a firm hold of the rhythm and a solid understanding of the verse and the prose. Occasionally reason gets left behind as some choices come with quite a hefty question mark. The shaky foundations, however, are strengthened by the brilliance of a top-notch cast who perform with the unbridled energy of rock musicians let loose at a summer festival. The tone is complemented by the uncredited costume design – although ‘design’ is a loose definition. A wonderful mix of New Romantic, Glam Rock, Commedia dell’arte, Alice-In-Wonderland and travelling circus. Viola (Louise Hoare) and Sebastian (Scott Middleton) are visually indistinguishable with their scarlet Ziggy Stardust mullets and Aladdin Sane lightning bolt (the face paint works better for Viola/Cesario, indicating – as it did with Bowie – the split identity of a new persona; but maybe we’re overthinking here).

The music, which veers towards an acoustic-driven folksy vibe, doesn’t always follow the visual aesthetic of the show. Alex Cooper’s Feste wear’s his guitar like a third arm and leads the musical numbers with his commanding singing voice. He wouldn’t be out of place in the back room of an Irish pub, although on occasion he leads the ensemble into anthemic choruses that feel like ‘Live Aid’ has gate-crashed a party at Steve Strange’s Blitz Club circa 1980. In another company’s hands this could be met with bewilderment, but the end effect here is quite magical. It is a touch odd, too, to witness ‘The Twelve Days of Christmas’ during a heatwave on the last day of July, yet it is as funny as it is incongruous.

Director Glenn Elston’s lively staging puts as much, if not more, focus on the household and supporting figures as the principal roles. Sir Toby Belch, despite being three sheets to the wind, rules the roost. Jackson McGovern plays the loveable rogue to perfection, fuelled by cheap wine. Along with Tony Rive’s Sir Andrew Aguecheek they make a wonderful double act; magnificently rounded off with Monica Nash’s Maria and Larissa Teale’s Fabian on full comedic form. The foursome are clearly having the time of their lives. Olivia is a dark and sultry Goth in mourning while Malvolio is a toff in a morning suit – both truly relishing their roles. Nicole Nabout slightly overdoes Olivia’s transition from ice-maiden to vixen when she falls for the mistaken identity of Ceasario, pursuing him/her with a ‘Carry On’ bawdiness. But in more restrained moments her sensual charisma shines. Maverick Newman’s Malvolio is suitably uptight until he uncoils, inviting at first our laughter and then our sympathy.

The anarchic humour, which is sometimes overpowering, still allows for subtleties; such as the sexual ambiguities. Hugh Sexton, as Orsino, conveys a certain confusion, unsure if Cesario is a boy or a girl (Bowie’s ‘Rebel Rebel’ comes to mind… so maybe there is thought behind the make-up). But if the characters are in a whirl, the audience are in a cyclone. The second act has a tendency to descend into full-on slapstick surrealism, throwing in some Southern-Gothic, Voodoo, gospel and wizardry into the mix. Oh, and an Italianate police officer in shiny blue hotpants.

The Australian Shakespeare Company’s “Twelfth Night” is certainly a rich tapestry. We are often not sure exactly what is going on in the minds of its creators. But it is a delight to watch, under the stars, where magic blends with mayhem. Just as Viola says of Feste; ‘this fellow is wise enough to play the fool; and do that well craves a kind of wit’, this adaptation is very silly indeed, but it is clear that intelligence, wit and profound skill are the driving force behind its nonsense and absurdity. A wonderful night of ‘midsummer madness’.

TWELFTH NIGHT

Kew Gardens

Reviewed on 31st July 2026

by Jonathan Evans

TWELFTH NIGHT

TWELFTH NIGHT

TWELFTH NIGHT