AS befits Shakespeare’s “if music be the food of love” play, Juliet Forster’s production of Twelfth Night has an extra helping of music, as twins Sebastian and Viola are separated and then washed up in Illyria.

Christopher Madin’s soundtrack binds the action together when the characters aren’t indulging in their own musical interludes.

Confusion abounds. Viola is disguised as a boy and gets lusted after by both sexes.

Maria persuades drunkard Sir Toby Belch and excitable Sir Andrew Aguecheek to play a prank on stand-offish Malvolio.

There’s a shipwreck – vividly conveyed in the opening underwater film sequence – and swordfighting. There are showers, with Viola getting an eyeful while watching a naked Orsino bathing, and showdowns, as Viola and Sebastian seem to be in two places at once.

Forster’s production has a clear idea of the path it wishes to take and doesn’t deviate, allowing the comedy to arise from situations, rather than forcing the characters into farce, as can happen. Which makes it a more serious Twelfth Night than many we’ve seen in the past.

It’s all nicely spoken from the moment Sam Hazeldine’s sporty Orsino delivers the familiar opening, If Music Be The Food Of Love speech, and well played through Colm Gormley’s singing, as Feste, to Dick Bradnum’s grinning Malvolio cavorting in yellow crossed garters.

This isn’t a Shakespeare production that will change the world, but it does offer a clear, concise interpretation of one of his most performed plays.

■ Until May 16. Tickets 01904-623568 or online yorktheatreroyal.co.uk