THE TEMPEST. ROYAL SHAKESPEARE COMPANY.
It’d be easy to be fooled into thinking this is going to be a stripped-back version of The Tempest. As we take our seats, there’s little to see beyond a bare stage, a black backdrop and a solitary music stand complete with conductor’s baton.
Yet from the moment Kenneth Branagh steps on stage, part maestro, part magician, director Richard Eyre’s production reveals itself to be anything but simple. Visually inventive, emotionally rich and packed with theatrical ingenuity, this is a Tempest that constantly delights.
As Prospero, the usurped Duke of Milan who has spent years in exile on a remote island with his daughter Miranda, Branagh sets events in motion by conjuring a violent storm that shipwrecks the enemies who betrayed him. Controlling the spirit Ariel, he manipulates the fate of those washed ashore, creating a tale of revenge, forgiveness, comedy, romance and redemption. It is Shakespeare at his most entertaining, combining spectacle with surprising emotional depth.
What makes this production so impressive is the sheer number of elements working together in harmony. There is the quality of the acting, certainly, but also Bob Crowley’s deceptively simple set design which along with Hugh Vanstone’s atmospheric lighting creates a sense of place. Add to that an intricate musical score overlaid with soaring vocal performances, aerial choreography and a host of theatrical illusions. Each layer adds texture to the production and helps create the sense of “rough magic” that lies at the heart of the play.
Crowley’s set design continually surprises. Through the clever use of projections and a revolving stage, the empty space transforms effortlessly from the deck of a storm-tossed ship to Prospero’s enchanted island. During the opening tempest, actors are hurled across the violently rocking stage with such conviction that you can almost feel the spray from the waves. It’s a thrilling beginning that immediately draws us into the story.
Branagh’s Prospero is fascinating throughout. In the early scenes he appears almost playful, delighting in the power he exerts over Ariel, Caliban and Miranda, who has little memory of her former life and no knowledge of the wider world. There is a touch of vanity in his command of the island’s supernatural forces, but Branagh never allows the character to become unlikeable.
As the play progresses, however, deeper emotions emerge. It is here that Branagh truly excels. Few actors of his generation have done more to bring Shakespeare to contemporary audiences. This performance is a reminder of exactly why he is held in such esteem. His delivery is crystal clear, making even the most intricate passages feel accessible, while beneath the words simmer Prospero’s hurt, anger and eventual compassion. It’s a performance of remarkable authority and humanity.
Amara Okereke is equally captivating as Ariel. Ethereal yet full of personality, she brings warmth and a genuine sense of wonder to the role. Suspended high above the stage, she becomes a shimmering presence who floats effortlessly through Prospero’s world. Her singing voice adds another layer of enchantment and every appearance feels special.
There is plenty of laughter too. Guy Henry’s delightfully pompous Stephano and Keir Charles’s absurd Trinculo provide comic moments as they join forces with Ashley Zhangazha’s long-suffering Caliban in a hopelessly chaotic plot to kill Prospero. Their scenes are played with impeccable comic timing, offering a welcome counterpoint to the play’s darker themes.
Ultimately, this production captures everything that makes The Tempest endure. It embraces spectacle without losing sight of character. There’s genuine emotional resonance beneath its theatrical wizardry. As Prospero reflects that “we are such stuff as dreams are made on”, the line feels particularly apt. For just over two hours we’re in a dreamlike world filled with wonder, beauty and imagination. When the final spell is broken and the lights fade, the magic lingers long afterwards.
