I’ve seen Shakespeare’s ‘The Tempest’ on at least six occasions (including Ian McKellen at Leeds, Derek Jacobi at Sheffield, and London appearances from Patrick Stewart, Antony Sher and Roger Allam at The Globe).

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It’s a magical romance which concerns the deposed Duke of Milan (here played by the reliable Simon Russell Beale, himself a former stage Ariel), who is shipwrecked on an island ‘full of noises’ with his daughter Miranda; here they live with his library of books, a monstrous creature named Caliban who they keep as servant, and an airy sprite called Ariel who gives service to his master in anticipation of gaining his freedom.

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Gregory Doran’s production is one of flashy technical and digital effects, in collaboration with Intel and The Imaginarium Studios, including a 3D representation of Ariel – although I found this more distracting than anything else, as the actor playing the part (and causing the body movements of the character) was on stage in all his scenes. However, the technical effects ranging from the light and sound giving the impression of a moving ship at the beginning of act one, a huge depiction of slavering dogs, and the memory of Ariel’s imprisonment in the cloven pine, were impressive.

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Joe Dixon’s Caliban and Mark Quartley’s Ariel were very memorable and touching, balanced out well by the comedy of Simon Trinder’s sinister Trinculo and James Hayes’ Stephano (although the ‘two-legged monster’ routine could have been funnier than it was).  For me, Jenny Rainsford took a while to come into her own as Miranda, and I didn’t feel connected to her until the ‘brave new world’ speech near the end, and Daniel Easton’s Ferdinand was bland and uninteresting.

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Simon Russell Beale’s Prospero is the highlight of this production, his small, stocky statute mirrored by that of Jonathan Broadbent’s little ball of hatred as his brother Antonio.  What this Prospero brings to the text is sometimes missed by his colleagues, and the final speech is truly touching as the audience is released (‘let your indulgence set me free’) – if this was Shakespeare’s way of saying goodbye to his beloved theatre, it is an effective one.

 

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