The Tempest: William Shakespeare, RSC: RST, Stratford Upon Avon, Runs: 2h 10m, one interval, | until 20 June 2026 ⭐⭐⭐⭐⭐ Review by Roderick Dungate

Photo credit: Johan Persson

The Tempest: William Shakespeare

RSC: RST, Stratford Upon Avon

Runs: 2h 10m, one interval

⭐⭐⭐⭐⭐ Review by Roderick Dungate

AD Performance 6 June 2026 ‘till 20 June 2026

“Beautiful.”

Director Richard Eyre has put his Tempest script on a diet. Not surprising, then, it looks slim, but it’s not just looking hoaned, it’s looking beautiful, not to say, stunning.

Eyre’s conceit is to have Prospero conduct the play as a masque – literally conduct it, bringing it into being much as a conductor might a huge symphony. Here, Prospero’s book of spells is a score, from the look of it written in the notations of a graphic score. It’s a brilliant concept; and it is totally thought through.

Prospero stand at his podium, before him a disc that fills the acting space, clearly his island set out before him. As the action proceeds Prospero can walk around the outside of this island, invisible to the characters but maintaining his control.

Kenneth Brannagh opens the masque, bringing into being the mighty storm. His whole demeanour is authoritative ; his speech is majestic. Yet Brannagh has such control over his medium he, when he wishes, moves his speech towards music itself. The effect is totally mesmerising. Yet Branagh also merges into the living tapestry when not creating it.

Brannagh’s Prospero is embittered (as well he might be). His treatment of Aerial and Caliban stems from this bitterness. Yet his relationships are complex encapsulated in the play’s ultimate moments. Brannagh enables us to see it all.

Eyre also allows his production to breathe. Hence, some moments which often encourage us to feel (dare I say this?) ‘oh, get on with it.’ are given full value. Trinculo’s and Stephano’s first meeting with the gaberdine hidden Caliban is a fine example of this. Ashley Zhangazha’s Caliban is a creature we have great sympathy for. Keir Charles and Guy Henry (Trinculo and Stephano) clown their way superbly through this scene, all three characters always keeping their feet firmly on the ground. They keep us laughing while at the same time building a real relationship.

Ruby Stokes (Miranda) and Fred Woodley Evans (Ferdinand) are fine specimens of humanity. They have no airs and graces, they are genuine. And I adore the simple way Miranda hefts the bag of logs Fernand has struggled with – she’s used to this work, he has rarely (we assume) had to pick up his shirt.

The air-bound Aerial is, in a literal sense, fabulous. She is light as a feather, unsteady on her feet on solid ground. And sings wonderfully.

Here is another level of layers Eyre works with. All music is given its full value, whatever its form – both art  and variety.

Bob Crowley’s economic set quietly enables the magic easefully to work.

I so often held my breath in wonder and had to remind myself to exhale.

Cast

Prospero – Kenneth Branagh

Miranda – Ruby Stokes

Ariel – Amara Okereke

Caliban – Ashley Zhangazha

Ferdinand – Fred Woodley Evans

Gonzalo – Paul Jesson

Alonso – David Bark-Jones

Sebastian – Henry Pettigrew

Antonio – Mark Meadows

Trinculo – Keir Charles

Stephano – Guy Henry

Master – Philip Childs

Boatswain – Darrell Brockis

Spirits – Halle Brown/Amber Sylvia Edwards/Razak Osman

Creatives

Director – Richard Eyre

Sets – Bob Crowley

Costumes – Fotini Dimou

Lighting – Hugh Vanstone

Composers – Akintayo Akinbode/Stephen Warbreck

Audio Describers – Carolyn Smith/Annette Stocken