THE TEMPEST. To 24 March.
London
THE TEMPEST
by William Shakespeare
Novello Theatre To 24 March 2007
Mon-Sat 7.30pm Mat Wed & Sat 2pm
Captioned 17 March 2pm
Runs 2hr 50min One interval
TICKETS: 0870 950 0940 (£1.50 booking fee per ticket)
www.delfontmackintosh.co.uk
Review: Timothy Ramsden 10 March
The Tempest on ice is cool.
“Do it on the radio,” suggests Willy Russell’s Rita, to solve Peer Gynt’s staging problems. Rupert Goold starts his production of Shakespeare’s last play (final Royal Shakespeare Company London transfer from 2005’s Stratford-upon-Avon season) behind a huge radio, broadcasting storm warnings before everyone’s tossed ashore on snowbound terrain (the reference to green grass is hard-achieved).
And it’s filled with icebound characters. Strangely, John Light’s Caliban is nearest to human warmth. In a world where Prospero’s cabin looks like something from a Russian gulag, and becomes ever more perilously tilted, where Julian Bleach’s Ariel is a slow-moving, white-faced figure that might loom in a German Expressionist film (“dainty Ariel”? Hardly) there’s recognisable grief in Caliban; a creature of the earth who lives hanging from a raised shelter.
There’s touching beauty in his account of the island’s noises; something scarcely matched by Ariel; the idea of Bleach’s morbid creation flying in a cowslip’s bell is absurd, and made to sound so. Reluctance stares and sounds out of Bleach’s response to Prospero’s commands, while he totes an hour-glass as reminder his freedom’s due any grain now. The last ‘sighting’ of him is destructive, as flames attack Prospero’s cell.
But Patrick Stewart’s Prospero gladly throws his staff of magus-like authority into the flames. There’s release here from the magic that has continued his awkwardness in human relations apparent from his time as Duke of Milan - Miranda needs to shoot her hand up like a school-pupil to ask him a question. No wonder he’s suspicious of Ferdinand. When his Epilogue receives the relief of applause, there’s an audible sigh of relief.
It’s a strong, original and ever-so naggingly wayward an approach. Except for the errant lords. James Hayes’ loyal Gonzalo registers authority then nerves during the storm, and holds his place among enemies thereafter. Antonio and Sebastian are more threatening for being so contained in manner. And when Miranda’s “brave new world” is said direct to Ken Bones’ expressionless, grizzled Antonio, the chief plotter who has just refused her father’s hand of friendship, it’s easy to see why this world is so icy.
(See also Rod Dungate's Stratford-upon-Avon review in the RSC section.)
Prospero: Patrick Stewart
Miranda: Mariah Gale
Ariel: Julian Bleach
Caliban: John Light
Antonio: Ken Bones
Alonso: Finbar Lynch
Ferdinand: Nick Court
Sebastian: John Hopkins
Gonzalo: James Hayes
Trinculo: Craig Gazey
Stephano: Joseph Alessi
Adrian: Chris Jarman
Francisco: Edmund Kingsley
Boatswain: Paul Barnhill
Goddesses: Allyson Brown, Golda Rosheuvel, Emma Jay Thomas
Mariners: Ravi Aujla, Rob Carroll, Luke Neal, David Rubin
Director: Rupert Goold
Designer: Giles Cadle
Lighting: Paul Anderson
Sound/Music: Adam Cork
Music Director: Julian Winn
Video: Lorna Heavey
Movement: Michael Ashcroft
Costume: Nicky Gillibrand
Company voice work: Charmian Gradwell, Lyn Darnley
Assistant director: Steve Marmion
2007-03-11 13:30:01