THE TEMPEST. To 31 March.
Hornchurch
THE TEMPEST
by William Shakespeare
Queen’s Theatre To 31 March 2007
Tue-Sat 8pm Mat 31 March 2.30pm
Audio-described 31 March 2.30pm
Runs 2hr 25min One minute
TICKETS: 01708 443333
Review: Timothy Ramsden 30 March
Sensuous and perceptive, a Tempest whose island contains a particularly fine Ariel and Caliban.
Hornchurch’s production has a definite place in this spring’s flood of Tempests. Moderate-scale, slightly trimmed, it skilfully uses technology to create the wedding masque’s “cloud-capp’d” moment of idealised hope amid the effortful self-renewal elsewhere, while the nuptial visions appearing on a huge cloak billowing out from Prospero emphasise his grandeur.
Michael Mears’ Prospero is near rage when he stops the wedding celebration to deal with Caliban and his drunken co-conspirators. Elsewhere, Prospero sits aloft, suspended within his little world (half globe, half astrolabe), detached from ground-level, as his magical control of others detaches sympathy from him. Only Mears’ clear struggle to come to terms with the impact of events past and present gives this Prospero humanity.
While he grumbles about being robbed of his dukedom, below him Simon Jessop’s sympathetic Caliban is equally Prospero’s victim. Caliban suffers the physical restraint of a neck halter (later transferred to Ferdinand) but even more the pain of losing his island. There’s regret and frequent vulnerability in his speeches.
Director Bob Carlton doesn’t openly emphasise the tension between Prospero and his obedient servant Ariel. Yet Minnie Crowe’s beautifully-played spirit carries, when Ariel’s visible to others, a light-bearing pole, keeping her appearance independent from her reality. Prospero never quite possesses this light; it eludes him increasingly towards the end, a limit even to his control of the world around and reflecting the leap of imagination he needs to make. No wonder Ariel, finally free, is seen rising skyward as pure light.
There are fine touches: Philip Reed’s Ferdinand moves from smart formal dress to a naked torso glistening with sweat, emphasising the physical effort of his work as Prospero’s prisoner. Though the conspiracy against Alonso is not prominent, Chris McDonnell’s Antonio, head and chest thrown back, eyes challengingly staring, clearly isn’t ready for any final reconciliation.
Trinculo and Stephano are actually funny. Ariel enjoys manipulating Trinculo’s arm gestures to increase the “Thou liest” humour, while Jim Bywater’s bemused demeanour and Neil Boorman’s drunken slitherings avoid the embarrassment their scenes can easily be. Rodrigo’s Guitar Concerto and Miles Davis bathe Carlton’s sensual production in Spanish-inflected sounds.
Stephano: Neil Boorman
Sebastian: Richard Brightiff
Trinculo: Jim Bywater
Ariel: Minnie Crowe
Caliban: Simon Jessop
Gonzalo: Paul Leonard
Antonio: Chris MacDonnell
Alonso: Simon McLinden
Prospero: Michael Mears
Miranda: Natasha Moore
Ferdinand: Philip Reed
Director: Bob Carlton
Designer: Mark Walters
Lighting: Matt Eagland
Sound: Rick Clarke
Musical Director: Carol Sloman
Choreographer: Katie Milton
2007-03-31 10:43:24