Twelfth Night at Theatr Clwyd – review

Shakespeare’s plays are no stranger to unique reinterpretations, and this production of Twelfth Night at Theatr Clwyd certainly provides a vivacious and bold staging. Reworking the original text into a contemporary queer escapade, Juliette Manon’s direction explores identity, love and a generous dose of mischief through a modern lens – one that is well-intentioned, yet at times spun so densely that it risks losing the audience in its threads.

Manon’s depiction foregrounds queerness not as subtext but as a centrepiece, particularly through the reimagining of Viola via Cesario (Lee Braithwaite) as a trans character, alongside the relationship between Sebastian and Antonio. The result is visually striking and conceptually rich, but not always entirely cohesive.

At times, the production struggles to balance its ideas with the emotional clarity of Shakespeare’s storytelling, as chaos extends beyond romance. The narrative finds its strongest footing in the performances of Braithwaite and Bethan Rose Young (as Countess Olivia), while Olivia’s household becomes a stage for drunken revelry and cruel tricks.

Braithwaite delivers a masterclass in acting, bringing a magnetic charm to his role and navigating the character’s complexities with ease. He allows the character to take form through honest interpretation and emotionally grounded delivery. Elsewhere, the ensemble leans into the play’s shenanigans, embracing the humour and absurdity that define Twelfth Night.

A standout comedic turn comes from Lucy Ellinson as the gender-swapped Lady Toby Belch, who plots to humiliate the manservant Malvolio, brilliantly brought to life by Phylip Harries – a spectacle in his gold-sequinned suit.

Cai Dyfan’s set design proves versatile, shaping Illyria into a contemporary space that evolves with the action. While the structure itself remains constant, anchored by a chandelier and a shallow pool, the way it is used keeps the stage dynamic. Additionally, Eamonn O’Dwyer’s sound design establishes atmosphere from the outset, with delicate, well-placed musical moments that support the play’s more whimsical edges without overwhelming them.

Ultimately, this is a Twelfth Night that dares to be different, and while it doesn’t always succeed in fully realising its vision, it remains an interesting and often engaging take on Shakespeare’s comedy, with ethereal vocals from Arwel Gruffydd.

Like sea-glass, smoothed by time, beautiful in fragments, this production offers moments of striking celebration, even if it never quite becomes whole, and still delivers a delightful evening of theatre.