“And what should I do in Illyria?” So asks the shipwrecked Viola early in the play, grieving for her twin brother Sebastian, whom she believes to have perished. She finds her way to the court of Orsino, Duke of Illyria, masquerading as a young gentleman, Cesario. There she is soon involved in a love triangle and other entanglements. Orsino, believing himself in love with the Countess Olivia, who is in mourning for her dead brother, sends her to woo Olivia on his behalf. This she does somewhat ruefully, having herself fallen in love with Orsino. The triangle is completed when Olivia falls in love with the supposed youth Cesario. “What will become of this?” Viola asks herself.
Meantime in Olivia’s house the dissolute Sir Toby Belch, her uncle, bored with her mourning, is trying to persuade his protegee Sir Andrew Aguecheek to stay in hope of marrying her while Sir Toby himself lives off Sir Andrew’s money with his drinking and riotous ways. There is antagonism between Olivia’s steward Malvolio, who is responsible for keeping order in Olivia’s household, and Sir Toby, who with his superior status as Olivia’s relative and association with others in her household undermines Malvolio’s authority – “Dost thou think, because thou art virtuous, there shall be no more cakes and ale?” We see Malvolio becoming the victim of one of the most devastating practical jokes in English literature.
The comedy as the various themes are interweaved is compounded by the arrival of Sebastian, separately rescued and believing his twin sister is dead, and the confusion resulting from others mistaking him for Cesario. This confusion continues into the final Act, where it is finally resolved. Even then, for the discerning observer, one or two questions remain which are not wholly answered.
“Twelfth Night” is one of Shakespeare’s most popular comedies and provokes many laughs. However, there are some more serious underlying themes or questions. Several of these, particularly the ecclesiastical and political considerations less familiar to a modern audience than they would have been in Shakespeare’s time, were developed in Fr. Stephen’s article in last month’s magazine. The sense of loss felt by twins at each others’ supposed death and the joy and wonder at their reunion is an important aspect of the play. There is also the growing tenderness between Orsino and Cesario. And what of the treatment of Malvolio? Has he brought it on himself by his attitude to others? Does it go too far? Is he just to be laughed at? Or should we sympathise with his position as steward, expected to keep order in a house whose mistress is in mourning at the start of the play, or because the treatment is unduly harsh? Can peace be made with him at the end?
The production includes some original music composed by Barbara Alden. There is also a Hampstead association in the poster and in some other aspects of the production – come and find out what.