Jamie Lloyd’s production condensed version of Shakespeare’s play has moments that work really well – but Sigourney Weaver should have been given more to do.
Jamie Lloyd’s productions of Macbeth and Richard III are the ones that really stand out for me of some of my all time favourite Shakespeare productions, really enhancing the darkness of the plays that were compelling to watch. But his recent approach by using minimalism in both Romeo & Juliet and now The Tempest are a bit more of a struggle to truly appreciate – which is a shame as there are aspects to this take on The Tempest that really enhance the drama and magic.
First of all the use of the effects to highlight the magic and haunting atmosphere of the play are brilliantly utilised here that sweeps the audience into the story that is unfolding is thrilling to witness, particularly during the opening scene highlighting the storm (which I won’t spoil by saying anymore about how it unfolds). The whole vibe of the production has a sci-fi appeal about it, which considering that Sigourney Weaver (of Alien fame) is leading the cast as Prospero feels extremely apt. However, the way in which she is very static and barely moves throughout the performance is a bit disappointing and she deserves to be made more use of.
While there are a few moments in which it feels as though Weaver stumbles through her lines, the way in which she delivers the monologues are compelling and filled with depth of emotion as well as introspectiveness – particularly in the second act. There is cool collectiveness to her performance that has undertones of resentment and anger at being usurped as Duchess of Milan by her brother Antonio that could have been brought out further. I just wish she would have been given more opportunity to move around more and not feel so separate from the rest of the characters.
Surprisingly, Jamie Lloyd’s production chooses to focus more on the humour of the script which sits a little at odds to the broodiness of the production as a whole, but showcases (as does the overall effects that is different from Romeo & Juliet and Sunset Boulevard) that potentially the director is tentatively trying to move away from the moodiness of his productions that we have come to expect. But a bit more colour and set would be welcome, particularly in the grandeur of the Theatre Royal Drury Lane, which seems to swamp the cast.
In bringing this humour to the stage, Jason Barnett as Stephano and Matthew Horne as Trinculo, the Jester work brilliantly together giving the production an extra lift. There is a swagger and exaggeratedness to Horne’s performance that is brilliantly timed, while Barnett is a little bit more grounded but still immensely enjoyable to watch.
But there are strong performances to be found elsewhere. In particular Mason Alexander Park brings a captivating etherealness to Ariel that offers plenty of magic that enthrals the audience – a stand out performance indeed. In addition, Forbes Masson is chilling and sinister as Caliban who would do anything to escape from Prospero, offering a performance that is difficult to keep your eyes off.
In addition, Mara Huf offers great conviction and passion to Miranda – her impulsiveness to be attracted to the first man she meets feels natural, with her chemistry with James Phoon feeling charming.
There is plenty to enjoy performance and effects wise here, but I think that the main trouble here is that the Theatre Royal Drury Lane doesn’t feel quite the right fit of theatre to experience this production. It needs a slightly more intimate venue to ensure that audiences feel suitably close to the action, but this production has a bit of mystery and intrigue that will keep audiences watching.
By Emma Clarendon
The Tempest continues to play at the Theatre Royal Drury Lane until the 1st February 2025.
Rating: ⭐⭐⭐