Twelfth night interpretations

Sir toby Caroll 2012

short, red-nosed, alcoholic.

Maria mothers him, suggesting alcoholism,

Short height compared to Malvolio adds to their conflict.

Sir toby Godwin 2017

ageing hipster/party animal,

Much younger and vulnerable, making his manipulation much more sinister,

shows lack of respect to his brother and nephew by using their urn as an ashtray for his cigar.

Sir toby luscombe 2017

greatest physical appearance,

appears much more menacing and dangerous when clashing with malvolio,

Contrasts with the frailty of sir Andrew so when he rejects him it seems much more brutal.

Sir Toby RSC 1983

Given more malice,

his manipulation of sir Andrew and his role in the downfall of Malvolio were more deliberate and dark

Sir Andrew Caroll 2012

he is dopey and about the same age as Sir Toby which makes his attraction to Olivia more inappropriate,

Emphasises slapstick comedy,

Adds to the theme of time running out.

Sir Andrew Godwin 2017- national theatre

Younger character with a man bun,

Slapstick comedy is exaggerated,

Audience find him more endearing and funny,

Clutches a teddy bear at the end of the play making him more vulnerable.

Sir andrew Luscombe 2017- RSC

Older and more frail version of him,

Makes sir toby even more cruel for using him as he does

Sir andrew RSC 1983

Andrew remains clownish but gains more sympathy as an outsider.

Olivia Caroll 2012

Physically presented to resemble Elizabeth I with white face and Elizabethan dress

Traditional all male cast

Passionately kisses sebastian leaving lipstick all over his face for comic effect.

“Most wonderful” when she discovers ‘two’ Cesarios.

Extreme emotion- throwing shoe in attempt to make Cesario stay longer- adds slapstick/ bawdy humour.

Olivia Godwin 2017-NT

Playful and flirtatious so we feel confident that she has been exaggerating her grief,

Black sunglasses to keep Orsino away from her.

Olivia Luscombe 2017 RSC

Uses costume changes to reflect her coming out of grief,

Typical of victorian times,

Reaches out for Viola at the end of the play who reaches out for Orsinio who reaches out for Sebastian.

Portrayed as lonely and disconnected.

Olivia RSC 1983

Less fragile and more knowingly humorous.

Orsino caroll 2012- globe

Mature and older actor moping about in his night clothes

Quite isolated

Orsino Godwin 2017 NT

Slightly younger portrayal

Actually calls Olivia himself in a flashy car

Huge comic relief when Cesario is revealed to be female, adding to the depth of feelings for Cesario.

Orsino 2017 RSC

Seems to harbour longing for Sebastian,

In denial about his true sexuality but still wishes to fulfil his expected role of marriage.

Orsino RSC 1983

Attraction for Cesario is genuinely ambiguous,

Suggestions of romantic tension that has been avoided in later productions

Maria Caroll 2012- Globe

All male cast, quite endearing

Maternal towards sir toby and loves any attention he gives her

shows signs of cruelty/ spite in dark room scene

Is on stage when it is revealed that she forged the note- comically trying to blend into background.

Maria Godwin 2017-NT

Not very memorable

nurturing towards sir toby

Maria Luscombe 2017- RSC

the most witch like of all interpretations of her.

Maria RSC 1983

Cunning romantic foil

Not just a servant but a social climber with agency and sass.

Feste Caroll 2012- Globe

dressed as a typical nomadic musician

not unkind

seems to enjoy his role rather than being nasty

Feste Godwin 2017 NT

Female dressed in party/ clubbing outfit

her role in the dark room scene is much more disappointing, treating another female (malvolia) in such a way

Feste Luscombe 2017-RSC

Presented as a munsi

The play has a victorian feel- queen Elizabeth had an indian secretary she was very close to

This Feste seems much more nurturing to Olivia

Makes his problem with Malvolio more personal.

Feste RSC 1983

More youthful

final song delivered as quiet but haunting

reinforcing the plays bittersweet sendoff.

Malvolio Caroll 2012 globe

Tall with a booming voice

Revenge is the most scary of the Malvolios,

Appears Condescending

Malvolia Godwin 2017 NT

Symmetrical bob suggests that she has OCD.

Interacts with the audience breaking the fourth wall,

Claustrophobic relationship with Olivia- watching over her as she sleeps,

Seems witchlike when she pledges revenge

Malvolio Luscombe RSC 2017

Traditional representation of Malvolio until he changes into yellow stockings,

Makes audience more disposed to sympathise when he is discovered by the rest of the cast treating him like he is mad.- Outnumbered

Seems more suicidal by the end of the play- his revenge will be on himself to ‘serve them right’.

Malvolio RSC 1983

Darker and much more tragic turn

genuinely menacing in ambition and wounded by betrayal.

Viola Caroll 2012- Globe

All male cast

Delved into violas internal unspoken struggles- love and concealing her true self

Delicate balance between vulnerability and resilience

Viola Godwin 2017-NT

London accent contrasts with her twins west african accent

provides a sense of normality amongst shifting identity

Interactions with orsino and olivia were marked with sincerity and depth which highlights inner conflict.

Viola Luscombe 2017

Performance emphasises violas adaptability and inner strength

Viola RSC 1983

Emphasised emotional resilience and sincerity

Brought depth to her experiences

highlighted vulnerability and wit, navigating the complexities of identity and love