“If music be the food of love play on”
And we definitely do play- with relationships, with the audience, and in a clever twist, with the conclusion. Directed by Juliette Manon, this adaptation leans into the complications that come from “mistaken identities” and focuses on the concept of “identity” itself.
In a genius move, Cesario (Lee Braithwaite), is played as a trans character who journeys through the piece exploring their new sense of self. Washing up on the shore of Ilyria, they literally break free from their dress and begin living openly as a man. In the original, this is simply a way of entering Osario’s court (as women could not do so), but this gives much more poignancy and freedom to their choice.
Following this narrative concept, the entanglements of love and complications of relationships that follow on (that Shakespeare intended), still work, and I’d offer, work more coherently. The nods to homoerotic lust can openly be highlighted and celebrated.
Being reborn from the sea, Cesario’s possibilities in this land are endless. The joyful revelations of Braithwaite are as bright and sparky as the chandelier that adorns the stage.
Their spritely, youthful charm is captivating, but their highlights come in the monologue moments of self-discovery. “I am a gentleman”, “I’m THE man”, “For such as we are made of, such we be”. Shakespeare’s words have taken on a whole new meaning of acceptance, and it’s driven home with glorious heartfelt intent.
The whole company brings light and new life to the text that the audience are enraptured by.
The Clwyd regulars are no stranger to the work of notorious dame, Phylip Harries, and this isa showcase of their comedic prowess. Malvolio goes from conceited to crazed, and Harries garners rapturous laughter throughout. Other laughs are brought by arrogant, thrusting knight Sir Andrew (Joseph Benjamin Baker), and the plots of ladies maid Maria, (Phillipa Cole) and Lady Toby Belch (Lucy Ellinson). Lady Belch (usually Sir – another inventive change), and Maria are secretive in their relationship, thus adding another layer of lustful wanting to the proceedings.
Someone who is open of their adoring nature, is Antonio (a swashbuckling Őncel Camci). Leaning into the obvious love of Sebastian (Jax Guerrero) from the text, allows the players to delight in the ecstasy and passion of young love.
As Feste the fool, Arwel Gruffydd’s cynical, drag queen persona aligns perfectly. Also, find me a more beautiful sound than that of Shakespeare’s verse in a Welsh accent (or in the language itself).
Speaking of pleasing sound, songs from Cerys Hafana are woven into the play beautifully. Especially with Feste, as a vintage microphone descends from the heavens, and their siren-like vocals soar.
Cai Dyfan brings fun, 70’s inspired designs to the land of Illyria; the disco vibe feels as fun as the play’s goings on. A cleverly integrated lift takes characters up towards a balcony, and a staggering staircase adds to the action and constant energy of the show.
Instead of returning to a resolution of “society approved” marriages as in the original text, this ending offers a more harmonious celebration, which I won’t spoil. Theatr Weston is transformed by the play’s joyful, queer-coded party vibes, and its ending leaves the audience feeling a wonderful sense of warmth and giddiness.
This production is one that comes around only once in a while. A truly inspired take on a comedy classic, whether Shakespeare superfan or newcomer, it’s a guaranteed enjoyable experience. With a beautiful message of acceptance and love in all its forms, I beseech you, get your tickets now before there’s none left.
Performing until 16th May, tickets can be found at the link; https://www.theatrclwyd.com/event/twelfth-night
Reviewer: Coral Mourant
Reviewed: 20th April 2026
North West End UK Rating:
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