THE TEMPEST (The Lord Chamberlain’s Men)****

By Cal

Link: https://www.youtube.com/watch?v=wBWsaO7wgnQ

Link with accessibility options: https://www.scenesaver.co.uk/production/the-tempest-lcm/

I think this is my fifth lockdown performance of The Tempest, but I’m not bored with it yet. With all Shakespeare’s plays, I feel every production is different and shows me something new.

There were two ways this production stood out as being different. Firstly, it was an all-male production. Many people won’t like the idea of women being excluded from productions and I would definitely want this to be the exception rather than the rule, but I do think it’s interesting to see the roles played by men, especially as that’s how it would have been in Shakespeare’s time.  The world hadn’t learned then that women are equal to men (and that there are more than two genders anyway) and that is sad, but all-male productions are part of our history and I was very interested to see this one.

I also loved how light-hearted this production was. The Tempest can seem quite a serious and sad play or a lovely, romantic magical fairy tale. Or just a rather unfortunate experience involving illegal drugs. This production went more in a comedy direction and it was very interesting to see that. Although the play definitely has some amusing characters, it’s never really felt like a comedy. Until now; until Peter Stickney directed it for The Lord Chamberlain’s Men.

It is in a more declamatory style than most Shakespeare plays I’ve seen recently, but I quickly came to enjoy it and I thought it really suited the play and the characters. It emphasised the beauty of the language. After all, Shakespeare’s characters have big and passionate emotions.

Splinter Scenery have constructed a lovely ship set, designed by Morgan Brind. My only reservation would be that it didn’t look easy to move around on and that there could be accidents, but the actors actually seemed very comfortable and I was soon too caught up in the story to worry about that. Morgan Brind also designed the costumes, along with Polly Laurence, and I thought they did a great job. The dresses were flattering on the men and I particularly liked Caliban’s ragged costume and Ariel’s magnificent blue one.

The role of Prospero was taken by Danann McAleer. I already knew him from his performance as Parolles in The Show Must Go Online’s All’s Well That Ends Well and it was great to see him in a leading role. Prospero is a very different character from Parolles. A lot of what Prospero does is questionable to say the least, though he has been at least as much sinned against as sinning. I feel Danann presents him as a powerful character with lots of presence, but he also gives him vulnerability.

Simon Jenkins is a lovely Miranda, emphasising the character’s gentleness, and shows a very different side as Sebastian. Ronnie Yorke also does well as a romantic Ferdinand (who has some very sweet love scenes with Miranda) and a devious Antonio. It must have been interesting to play two characters with such opposing views of Prospero. I also liked William Pennington as Ariel. He has a lovely otherworldliness in his voice and movement.

Reece Richardson gives an extraordinary performance as Caliban, moving around the stage with an almost animalistic gait that makes him look both dangerous and strangely appealing. I have always felt sympathy for Caliban and wondered if he always wanted to hurt Prospero or if he simply responded to the way he was treated. It wasn’t just the dress that made hm look completely different as Ceres: he moved and spoke very differently too.

There was a lot of comedy in the play, particularly from Duncan Mitchell’s rather grand Stephano and director Peter Stickney, who is hilarious as Trinculo.

It’s a great cast – but they’re not just very talented actors – they’re also incredible singers. They sing several songs in gorgeous voices with several lines of harmony – it really does sound wonderful. William Pennington is one of those rare people who can play the recorder without shattering your eardrums. It’s a beautiful instrument when it’s not played by a classful of overenthusiastic seven year olds!