Theater review -- 'Richard III,' 3 stars; 'Twelfth Night,' 4 stars

The fall season of wall-to-wall Shakespeare, which so far has offered more misfires than hits, no doubt reaches its high point with the Globe Theatre’s double bill of “Twelfth Night” and “Richard III.” Both are directed by Tim Carroll in an “original practices” style and feature a terrific all-male cast led by the extraordinary Mark Rylance.

The traditional ambience of London’s Globe has been re-created at the Belasco Theatre, with musicians playing period instruments on a balcony and plenty of candlelit chandeliers. Before the performance begins, the actors get into their lavish costumes and makeup onstage and interact with audience members, several of whom sit onstage in specially built wooden boxes.

In “Richard III,” Rylance portrays the physically deformed title character as more of a hammy clown than a charismatic but chilling villain.

While hardly the ominously toned political thriller that one would expect, it’s hard to imagine a funnier, more enjoyable production of this play. Rylance is joined by a poised Samuel Barnett as Queen Elizabeth and a suave Angus Wright as the Duke of Buckingham.

“Twelfth Night,” in which Rylance plays the comparatively smaller role of the countess Olivia, is an absolute joy and triumph from start to finish. If “Richard III” comes off as too lighthearted, “Twelfth Night” is perfectly suited to this merry environment of men playing women, bright lighting and close interaction with the audience.

Barnett leads the way with an extremely moving performance as the cross-dressing Viola, while Rylance brilliantly stresses Olivia’s increasingly ridiculous infatuation with her suitor’s young page. Stephen Fry, also an acclaimed English actor, is unusually subdued as the dour steward Malvolio.

If you go: “Richard III” and “Twelfth Night” play at the Belasco Theatre through Feb. 1.111 W. 44th St., 212-239-6200, shakespeareonbroadway.com.