Shakespeare’s Twelfth Night is often considered one of his greatest and funniest comedies – this latest iteration from The Crucible lived up to all expectations.

The play, which runs at the Sheffield city theatre until 31 October, was the second part of a Shakespeare double-header but whereas last month’s King Lear was dark, bitter and hopeless, this was full of love and light, perhaps best reflected by the huge sun that served as a backdrop to Jamie Glover’s production.

With the exception of the lead roles – Mathew Horne replaced Iain McDiarmid as the headline name – Twelfth Night employed the same cast and there were some stand-out performances throughout.

The comedy was best delivered by Feste (David Birrell), Olivia’s (Justina Kehinde) fool who entertained and manipulated in equal measure. Birrell was exceptional in his delivery, showing a broad vocal range as well as a quick wit. He was supported ably by Sir Toby (Milo Twomey) and Sir Andrew (James Chetwood), who served as an almost comedy double act, as well as Maria (Katie Wimpenny), who brought plenty of irony to proceedings.

Together, the foursome form a cabal to give Malvolio (Horne), Olivia’s steward, his comeuppance, which sees his stoic, serious demeanour replaced by huge smiles and whimsy – as well as those well-known yellow tights and cross-garters.

Horne, best known for his TV comedy appearances, played both parts of the role superbly. In the first half of the play he is arrogantly superior but switched to his comedic side seamlessly, inviting plenty of belly laughs in the second act. After being labelled as ‘mad’, he is taken away to a dark room but remains stoically unrepentant to the end, even as a broken man.

While Malvolio’s prank is the best-remembered part of the play, as its heart is a story of twins, who are separated when their ship is wrecked during a storm. The path back to each other is one of duplicity, endeavour and ultimately love, where each affected party is given their happy ending. Bebe Sanders excels in the dual roles of Viola and Cesario whilst Harry Redding, as Sebastian, is steadfast and determined.

Genevieve Dawson’s folk-like score provides a fitting backdrop to the whole production, matching every mood perfectly. Hazel Monaghan (guitar), Evie Hilyer-Ziegler (violin) and Nicholas Hann (clarinet and bass clarinet) appear throughout, either forming part of the background or taking centre stage, especially when working alongside David Birrell’s Feste, who adds his own musical accompaniments.

Amanda Stoodley’s set design maintains a simple stone circle with movable, rotating benches and props are minimal, with two sets of step ladders being used to represent the doomed ship at the start of the play.

There’s a good pace to the whole production, which rarely lags, and more than enough laughs to fill the two hours and 35 minutes (including interval). It certainly kept us, and the whole audience entertained.

Twelfth Night is at the Crucible until 31 October. Click here for ticket details.