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Overview
Synopsis
Often lauded as one of the most structurally perfect comedies ever written and beloved by audiences for generations, Twelfth Night; or, What You Will is a masterpiece. Shipwrecked on the shores of the strange land, Illyria, Viola believes herself alone in the world and her twin brother drowned. Disguising herself as a boy to work in the court of Illyria’s Count Orsino, Viola discovers her male disguise has proven all too effective: Orsino sends her as a go-between in his persistent love-suit to the unresponsive Olivia. Even as Viola sues for Olivia’s love on Orsino’s behalf, Viola falls in love with Orsino herself. What ensues is a cross-dressing comedy rife with pain and triumph, humor and madness, transformation and redemption.
Show Information
- Book
- William Shakespeare
- Category
- Play
- Age Guidance
- Youth (Y)/General Audiences (G)
- Number of Acts
- 5
- First Produced
- 1602
- Genres
- Comedy
- Settings
- Multiple Settings, Period
- Time & Place
- the imaginary kingdom of illyria, time unknown
- Cast Size
- large
- Licensor
- None/royalty-free
- Ideal For
- College/University, Ensemble Cast, Large Cast, Professional Theatre, Regional Theatre, Star Vehicle Female, Mostly Male Cast, Includes Young Adult, Adult, Mature Adult Characters
Context
Shakespeare's comedy Twelfth Night; or, What You Will was probably written sometime between 1599 and 1601, and the first documented performance was on February 2, 1602, at Middle Temple Hall.
The feast of Twelfth Night, which occured each year on January 6th, traditionally marked the end of the Christmas season. It was a time of revelry when servants might take on the roles of masters and masters the roles of servants. Twelfth Night was a time for clowns, carnivals, and a suspension of
to read the context for Twelfth Night and to unlock other amazing theatre resources!Plot
Act One
The scene opens in Illyria, at the palace of Duke Orsino, where the duke is listening to music. Duke Orsino is suffering in love for Lady Olivia, who refuses to requite his suit. He hopes the music will feed his love to the point where the love can’t grow any more and so it will die. His servant Curio suggests they go hunting, but the only thing the duke wants to hunt is Olivia’s heart. Duke Orsino’s other servant, Valentine, returns from his errand to Lady Olivia’s house and tells
to read the plot for Twelfth Night and to unlock other amazing theatre resources!Characters
| Name | Part Size | Gender | Vocal Part |
|---|---|---|---|
|
Lead |
Male |
Spoken |
|
|
Lead |
Female |
Non-singer |
|
|
Lead |
Male |
Spoken |
|
|
Lead |
Female |
Non-singer |
|
|
Lead |
Male |
Spoken |
|
|
Supporting |
Male |
Spoken |
|
|
Supporting |
Male |
Spoken |
|
|
Supporting |
Male |
Spoken |
|
|
Supporting |
Female |
Spoken |
|
|
Supporting |
Male |
Spoken |
|
|
Supporting |
Male |
Spoken |
|
|
Featured |
Male |
Spoken |
|
|
Featured |
Male |
Spoken |
|
|
Featured |
Male |
Non-singer |
|
|
Featured |
Male |
Non-singer |
|
|
Featured |
Either or Both |
Spoken |
|
|
Ensemble |
Male |
Non-singer |
|
|
Ensemble |
Male |
Non-singer |
|
|
Ensemble |
Either or Both |
Spoken |
|
|
Ensemble |
Either or Both |
Silent |
Songs
A song with an asterisk (*) before the title indicates a dance number; a character listed in a song with an asterisk (*) by the character's name indicates that the character exclusively serves as a dancer in this song, which is sung by other characters.
Monologues
Scenes
Key Terms
A poetic or formal farewell often used in classical and period drama to underscore emotion or finality.
An alter ego is a second self or alternate personality that differs from a character’s outward persona. In drama, it can be used as a dramatic device to explore internal conflict or duality.
An Italian theatrical form featuring masked stock characters, improvisation, and physical comedy, influential in modern comedy and clowning.
Relating to the reign of Queen Elizabeth I, marked by flourishing English drama and playwrights like Shakespeare and Marlowe.
A term in classical medicine and drama referring to bodily fluids that affect temperament; also used to mean comedy. This term plays a vital role in understanding theatrical structure and is commonly encountered in stagecraft or performance settings.
A poetic meter consisting of five iambs per line, widely used in English Renaissance drama by playwrights like Shakespeare.
A mark is a specific spot on stage where an actor is directed to stand or move to during a scene. It helps ensure proper positioning for lighting, sightlines, and interaction with other performers. Marks are often indicated with tape during rehearsals and are essential for maintaining consistency in blocking and camera work.
A dramatic work that includes incidental music or songs, but is not classified as a full musical. Music supports mood and storytelling without dominating the narrative.
An old-fashioned word used to politely request or implore, frequently seen in Shakespearean dialogue.
An archaic contraction of 'I pray thee,' used in English Renaissance plays to make polite requests or appeals. It conveys period formality and is frequently seen in Shakespearean dialogue.
A speech delivered by a character alone on stage, revealing inner thoughts or emotions to the audience. Common in Shakespearean plays.
Recognizable character types used across theatrical traditions, such as the fool, villain, or ingenue.
Describes love or affection not returned or reciprocated, a common theme in classical and romantic drama.
A poetic word for 'face,' often used in classical theatre to describe appearance or emotion.
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