It is a time in which cultural changes were beginning to challenge gender norms. In the palace of Orsino, Duke of Illyria, men in tuxedos dance together, their movements graceful and the musical accompaniment softly expressive. In the foreground, Orsino expresses his unrequited love for the Countess Olivia.

The theme of frustrated passion runs throughout, and Prasanna Puwanarajah’s treatment of this is thoughtful and compassionate. Orsino’s feelings for Olivia are challenged when he finds himself drawn to Viola, now disguised as the male Cesario. Antonio, who together with Viola’s twin brother Sebastian, was separated from her in the shipwreck, has clear feelings for Sebastian.

Love is in the air, but so too is a sense of melancholy as Shakespeare’s use of gender swapping is used to convey the sense in which same-sex attraction was commonplace but covert in the 1930s.

In the case of opposite-sex attraction, comedy comes to the fore, and fear of expressing intimacy vanishes. Viola also falls for Olivia (Cesario), believing her to be a man. From her position of power, she has little hesitation in requiring her feelings to be reciprocated at the click of her fingers. And social climber Malvolio is the subject of much mockery as, falling for the tricks played on him, he believes that Olivia loves him.

The production is full of recognisable characters, from the honourable, to the fiery, to the vain. That is not to mention the drunken Sir Toby Belch whose self-serving nature cloaks him in tragedy and Feste, Olivia’s jester, who is one moment full of mirth, the next afflicted by deep sadness. The use of asides to the audience, many of them playful additions to the text, connects us even more with this odd assortment of people. After all, we all have many of them in our lives.

The comedy is further baked-in through the brilliant portrayal of Feste by Michael Grady-Hall. In league with Sir Toby and his side-kick Sir Andrew Aguecheek, his antics both steer and comment on the action. From plaguing Malvolio in a pretence to cure his madness, to swinging on ropes, to becoming stuck between the pipes of a huge organ, the three are the highlight of the evening. Grady-Hall also carries many of the songs in a voice which is as dreamy as the lovers around him.

At times, as comedy and tragedy nestle up close together, the production is unsettling. In the larger-than-life Sir Toby, we see a man who is the source of his own downfall. But our laughter at his antics is as much a source of self-reflection on what is funny and what is not.

The production’s uncertain style of staging is more confusing. Whilst Feste’s character is positioned in 1930s America, drawing on traits and hair-style of Stan Laurel, and whilst Sir Andrew Aguecheek is portrayed as a wealthy American with dapper trilby, initialled luggage and all, other characters appear to be located elsewhere. In the first act, Olivia, all in black, looks more like a woman in Spanish dress, whilst some of her women are in clothing of Puritan style. Occasionally, there is a dip into pantomime, Feste’s red noses and clown possibly going a step too far.

But overall, the RSC’s production is highly accessible, has some wonderful performances and is supported by beautiful musical accompaniment. Twelfth Night is surely a winner this Christmas.

In a strong all-round cast, Viola is played by Gwyneth Keyworth, Olivia by Freema Agyeman and Orsino by Bally Gill. Sir Toby Belch is played by Joplin Sibtain, Sir Andrew Aguecheek by Demetri Goritsas and Malvolio by Samuel West. Feste is played by Michael Grady-Hall. The pianist is Andrew Woodhead.

Twelfth Night was directed by Prasanna Puwanarajah, with music composed by Matt Maltese, and choreographed by Kimberley Rampersad.

It is on at Stratford until 18th January. For further information visit rsc.org.uk.