Twelfth Night - Roleystone Theatre

Reviewed by Kate O'Sullivan

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The open-air lawns of the Araluen Botanic Park once again set the stage for Twelfth Night, presented by Roleystone Theatre in a production that leaned into festive spectacle while navigating the challenges of outdoor performance.

This year’s staging felt notably more confined than previous garden productions, with much of the action anchored to a defined “front” stage area rather than fully embracing the breadth of the natural surroundings. While this tighter focus offered clarity of placement, it occasionally came at the expense of the expansive, immersive quality that outdoor Shakespeare can uniquely provide.

Some early technical issues hindered the storytelling. Juliette Basini’s Olivia suffered from microphone problems in her initial scene with Arianne Wescott-King’s Viola, resulting in lost dialogue that made key plot points difficult to follow, particularly for those audience members who were less familiar with the play. Given Twelfth Night’s already intricate web of mistaken identities and romantic entanglements, clarity here is crucial.

The production’s abridged script shifted emphasis in unexpected ways. At times, especially in the first half, the comic subplot felt as though it had overtaken the central romance, altering the balance of the piece. While this brought energy and frequent laughter, it diluted some of the emotional stakes that anchor the play’s resolution.

Director Paul Treasure’s decision to lean into the play’s origins as a festive Twelfth Night entertainment (dating back to around 1601–1602) was evident in the Christmas-themed costuming. While the concept is historically grounded, its execution proved distracting. Elements such as elves and reindeer costumes clashed with the play’s tone and muddied the visual storytelling. A clearer system - perhaps colour-coding households or incorporating shared costume motifs - might have better supported audience comprehension and cohesion. Performance-wise, there was much to enjoy. Arianne Wescott-King brought sincerity and poise to Viola, though a sharper distinction between Viola’s true self and her disguise as Cesario would have deepened the character’s central tension. She was well paired with Aaron O’Neil’s Sebastian, whose physicality offered an immediate point of comparison and a logical point of 'confusion' for other characters. Adam Wolfe’s Sir Andrew Aguecheek emerged as a clear crowd favourite. His performance struck an appealing balance between audience engagement and internal character relationships, with a commendable physical commitment that conveyed drunkenness without resorting to caricature. Caitlin Boyle’s Maria also injected lively momentum into the comic subplot, serving as a confident and engaging instigator.

Kieran Ridgway’s Antonio brought a welcome physicality, especially in the fight sequences. An early scene staged across the lake was visually ambitious, though ultimately undermined by the setting sun, which made visibility challenging from the audience’s perspective. Meanwhile, Ron Arthurs’ Malvolio provided considerable amusement, though at times he edged toward overt buffoonery. The “dark room” sequence, staged with an eye mask and positioned far to one side, felt both conceptually and spatially awkward, limiting the audience’s ability to fully engage with one of the play’s most pivotal moments.

Despite its uneven elements, this community theatre production carried an undeniable charm. Set against the natural beauty of its surroundings, it offered an evening of lively performances and inventive ideas, even if not all of them fully landed.

Reviewer Note: Kate has previously performed with members of this cast/crew and with Roleystone Theatre. Tickets for this review were provided by the theatre company.