Viola and Sebastian are lookalike twins, separated by a shipwreck. Viola lands in Illyria, where she disguises herself like her brother and goes into the service of the Duke Orsino. Orsino ... See full summary »

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Cast

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Clive Arrindell ...
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Michael Thomas ...
Malcolm Reynold ...
Michael Ryan ...
Richardson Morgan ...
Sea Captain (as Ric Morgan)
Arthur Hewlett ...
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Storyline

Viola and Sebastian are lookalike twins, separated by a shipwreck. Viola lands in Illyria, where she disguises herself like her brother and goes into the service of the Duke Orsino. Orsino sends her to help him woo the Lady Olivia, who doesn't want the Duke, but finds that she likes the new messenger the Duke's sending. Then, of course, Viola's brother shows up, and merry hell breaks loose. Meanwhile, Olivia's uncle and his cohorts are trying to find some way to get back at Olivia's officious majordomo, Malvolio. Written by Kathy Li

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Comedy | Drama | Romance

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6 January 1980 (UK)  »

Also Known As:

The Complete Dramatic Works of William Shakespeare: Twelfth Night  »

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1.33 : 1
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Did You Know?

Trivia

John Gorrie wanted the episode to be as realistic as possible, and in designing Olivia's house, he made sure that the geography of the building was practical, and shot the episode in such a way that the audience becomes aware of the logical geography, often shooting characters entering and existing doorways into rooms and corridors. See more »

Goofs

As Feste (the fool, the clown) is singing in the final scene, he walks up the "stone" garden steps and they echo loudly, clearly revealing that they are wooden props. See more »

Connections

Version of Shakespeare: The Animated Tales: Twelfth Night (1992) See more »

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User Reviews

 
an excellent production
11 July 2015 | by (Cambridge, England) – See all my reviews

This is one of the best of the BBC's productions, with fine performances all around. The production succeeds in conveying the melancholy aspects of the play as well as its many comic elements. (Although Trevor Peacock has only a moderately good singing voice, its plangency is perfectly suited to the rather dark songs that Feste intones.) I'll register only two minor complaints. First, Robert Lindsay inappositely utters an exclamation as a question in III.iv.133. Second, quite a few of Feste's lines have been excised. Some of the deletions are well-judged, but most of them (especially in III.i and V.i) are regrettable. Still, these two small points of dissatisfaction detract very little from my enjoyment of an excellent rendering of this play.


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