The absurdities of the arts funding system are neatly illustrated by the plight of Northampton's Theatre Royal, which had no sooner completed a fine refurbishment and opened its doors to an acclaimed revival of Stephen Sondheim's Follies, than it was told the local council intended to reduce its funding. Soon, the inhabitants of Northampton may find themselves in the curious position of being in possession of a theatre that is one of the most exquisite in the country, but which will be dark because it won't be able to afford to stage productions.
In the circumstances, it's appropriate that the current season is called Love and Madness, and kicks off with a revival of Twelfth Night, the play with which the Royal opened its doors in 1884.
The trick with Twelfth Night is finding the balance between mirth and melancholy. Though Laurie Sansom's production is a handsome affair, it doesn't quite deliver on either score. The rainy funeral of Olivia's brother sets the tone beautifully, but though Simon Rostrand's design with its Victorian flock wallpaper and picture frames references the theatre's history, it also boxes everything in, both physically and emotionally.
There are some nice moments, including a bath scene where the disguised Viola is confronted with her naked love, Orsino, and just doesn't know where to look. But the comedy of Sir Toby and chums is forced, and a shallow Olivia and Orsino are played with a brittleness that suggests they have wandered out of a revival of The Importance of Being Earnest.
Rebecca Grant is a sparky Viola. But the best performance of the evening comes from Greg Barnett in the tiny role of Antonio, a man who loses everything - including his heart.
· Until February 17. Box office: 01604 624811
