The Twits, based on Roald Dahl’s dark-comedy children’s novel first published in 1980, has been adapted for the stage by Shake & Stir Theatre Co with the aim of appealing to audiences aged five and up. The story is renowned for its memorable characters, grotesque humour and playful language – but how well does this literary tale translate from the page to the stage?
The stage itself is set as a carnival sideshow and, in the opening moments, streams of white light flood the theatre, reaching out in all directions to create a spectacular display that evokes a perception that we are about to witness something exceptional.
As the lights settle, the audience is introduced to three colourful sideshow characters who do not appear in Dahl’s original book: Maverick the magician, Claudette the contortionist and Rex the strongman. Each makes an entertaining entrance, showcasing their unique skills, and together they serve as the production’s narrators.
The stage features a rotating platform and the light show continues to dazzle in various forms. Shortly after this, we meet Mr Twit – his long beard filled with decomposing leftover food – and we witness (and hear) the terrible issues he has with his bowels, made fully apparent in a constructed outhouse positioned at the edge of the stage.
The Twits: exaggerated insults
Mr Twit’s character is described to us by the three narrators, and it’s not a case of ‘show, don’t tell’. Instead, we rely on their slander and exaggerated insults to form a picture of Mr Twit’s repulsive nature – an approach that feels a little unsettling at times.
Soon after, Mrs Twit makes her entrance, and she is immediately defined by the narrators in terms of her aesthetics, being described as ugly. The stated inference here is because she is ugly, she is of a bad character. It’s not until later that the narrators offer a different perspective: that ugliness comes from within – someone becomes ugly on the outside because of who they are on the inside. The audience is asked to suspend any critical thought about this explanation and just “move on with the show”.
At this point, we haven’t seen first-hand any vile behaviour or cruelty from the Twits towards animals, but we’re told about it by the narrators, and Mrs Twit pretends to hit some toys with her cane. The narrators tell us about their cruel treatment of the Muggle-Wumps, a family of monkeys who are caged and forced to perform on command.
From there, the production moves into a sequence of scenes where Mr and Mrs Twit take turns playing grotesque and exaggerated practical jokes on one another.
The Twits: witnessing the cruelty
It is not until the end of the show that we witness the Twits’ cruelty towards others more directly. This includes gluing birds and children to a tree, and the mistreatment of the Muggle-Wumps, who have been kept in captivity. In a reversal, the Muggle-Wumps fight back, joining forces with the Roly-Poly Bird to bring the Twits’ reign of cruelty to an end.
Throughout the show, the audience is treated to a wonderfully creative and atmospheric lighting design by Simon Hardy. The costumes and staging are vibrant and imaginative, effectively setting the scene and supporting the tone of the production. The performances are first-class, with each cast member conveying their character with clarity, strength and infectious energy.
The duration of the show is 50 minutes, and it is clearly designed with a young audience in mind. It’s understandable that the narrative may need to be kept short. But for the production to be more than a surface-level recreation of Dahl’s book, this adaptation would benefit from fleshing out the main characters and their evil deeds. Instead, we see the Twits from a superficial lens – as caricatures. While this may reflect their portrayal in the book and can make it easier to laugh at their misfortunes, it ultimately makes for a less satisfying storytelling experience.
There’s a fair amount of critical judgement that must be suspended to fully enjoy the show. But if you’re willing to approach it like a dark fairy tale, this production offers vibrant staging, strong performances and an exceptional lighting display – enhanced by clever humour, imagination and flashes of wit.
Read: Performance review: BullyBully, Sydney Opera House
The production does have cross-generational appeal, particularly for fans of Dahl’s work who enjoy seeing his gritty, grubby and morally questionable characters come to life – and get exactly what they deserve.
The Twits by Roald Dahl
Sydney Opera House
A Shake & Stir Co-production
Adaptors: Nelle Lee & Nick Skubij
Director: Ross Balbuziente
Stage Manager: Jeremy Gordon
Assistant Stage Manager: Shania Manning
Head of LX/Lighting Programmer: Simon Hardy
Head MX: Andrew Whittaker
Designer: Josh McIntosh: Bianca Bulley
Costume Designer: Bianca Bulley
Sound Designer: Guy Webster
Lighting Designer: Jason Glenwright
Production Manager: Jono Harrison
Cast: Judy Hainsworth, Kieran McGrath, Ryan Hodson, Billy (Bridget) Fogarty, Johnny Balbuziente
Ticket prices: $35.95-$64.95
The Twits will be performed until 19 July 2025.
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