'Michael Boyd...has an extraordinary gift for conceiving Shakespeare in terms of richly three-dimensional space and visual motifs...watching his new RSC modern-dress account of Twelfth Night, I felt that gift again'
FINANCIAL TIMES
'Michael Boyd's Twelfth Night is a holiday...fresh, funny, poignant and uses jazz to wonderful effect...Barnaby Kay's Orsino is energetic, self-involved, likeable...Aislin McGuckin's formidable Olivia is a pleasing contrast...stiff with disapproval...love comes to her unnaturally and we laugh at her expense...there will never be a better Sir Andrew Aguecheek...John Mackay makes use of his long legs to do unexpected ballet steps at moments of particular stress and a hilarious tap routine whenever he sights Sir Toby'
OBSERVER
'Theatrical magic...in his chequered suit and with every mark of distress writ large upon his whited face, Forbes Masson (Feste) gives as affecting a performance as I can remember...he sings exceptionally well, accompanies himself on a pub piano and gets the balance between pain and redemptive levity exactly right'
SPECTATOR
'Richard Cordery is a vast, sneering blend of bruiser and bouncer as Malvolio, who practises kung-fu in private...gloriously silly...there's vitality here, moments of subtlety, and, with Meg Fraser's feisty, lovelorn, flirtatious Maria coming close to giving us a subplot of her own, sometimes both at once'
TIMES
