Review: Twelfth Night at Heywood Civic

“…quirky, lively and pulses with energy…”

Twelfth Night by William Shakespeare, Heywood Civic

By Hannah Molyneux

Twelfth Night is the ninth of HER Productions’ annual Unseemly Shakespeare adaptations, which reimagine the original text with an all-female and non-binary cast. Co-directed by Kayleigh Hawkins and Stuart Crowther, this version leaves us shipwrecked and washed up on the beach of a dilapidated seaside town, complete with screeching seagulls and inflatable lilos. Having lost her twin brother, Viola (Hannah Ellis Ryan) hatches a plan to make something of herself by masquerading as a gentleman in Orsino’s court. Orsino (Angela Heenan) is in love with Olivia (Jessica Mannion), who in turn falls for Viola’s alter ego Cesario, and so chaos ensues.

A dynamic opening immediately establishes the world of the production. Jen Holt Wright’s set design is simple, evocative and malleable enough to add to the humour of the piece, while Grace Bastyan’s lighting design is heady and exciting. The performance is liberally sprinkled with disco and a good amount of music, and while these pop up a little too abruptly in some cases, they definitely ramp up the humour. Special mention here must go to Gold’s hilarious rendition of “Burning Love”.

Ellis Ryan and Mannion do a credible job of anchoring the piece within this love story, and there seems to be an authentic connection between them that gives some of the more contemplative scenes their impact. Co-directors Hawkins and Crowther’s treatment of Cesario’s first meeting with Olivia, for example, is all Cher and shades, but deftly captures the spirit of Shakespeare’s writing.

Manipulating the whole situation is Beth Vyse’s Sir Toby in what is a show-stealer of a performance. Vyse, alongside comic partner Kassie Jay Ellis as the hapless and slightly dim Sir Andrew, breathes life into Shakespeare’s lines so that the character feels fresh and contemporary. Her diction is excellent – not a word is lost. Together with Maya Dhokia’s saccharine yet scheming Maria, they turn the drama into a soap opera that borders, at times, on pantomime in the most deliciously funny and farcical way.

Frankie Gold gives a confident and assured performance as Malvolio, bringing a likeable softness to the role with comedic interjections that feel easy and natural, and throwing knowing glances the audience’s way.

It seems a lot of thought has been given to the overall vibe of the show. It feels completely Shakespearean while at the same time very modern. The show is full of little details that feel so well crafted, though they lapse a little too often. It feels jarring, for instance, to watch one character scatter ashes off the end of a pier only to have other characters walk directly in front of that same pier end only moments later. It might also have been interesting, given the aims of HER Productions in presenting an all-female and non-binary cast, to have seen some of the male characters reimagined through a more feminine lens. Orsino, for instance, retains a kind of jack-the-lad quality without offering too much nuance.

Nonetheless, the storytelling and the wit truly hit the mark. This is a Shakespeare adaptation that really honours its roots while staying true to itself. It is quirky, lively and pulses with energy from its choreographed opening to its karaoke ending. This is a show that has its tongue firmly in its cheek and gives a 400-year-old classic a fresh edge.

Twelfth Night plays at Heywood Civic until Friday 10 July. Tickets are available here.

Hannah Molyneux is a proudly Mancunian writer and musician whose day job revolves around community engagement. She is passionate about community arts and the huge benefits they have for people and places. Hannah can most often be found enjoying the great outdoors or optimistically crafting with her children. You can read more of her writing here. You can find her on Instagram here.