THE TEMPEST - Theatre Royal Drury Lane (28/12/24)

You have to wonder if Jamie Lloyd is trying to strip everything as far back as he can, and whether this is an artistic choice or an issue with budget constraints is anybody’s guess. One has to admit though that his newest staging of Shakespeare’s “The Tempest” was far more successfully and cohesively communicated than his previous iteration of the bard’s work. That however does not mean it is devoid of flaws, because in spite of the vastly more vivid scenic design, we still ended up with a production that felt like it was holding back.

Following an opening scene shipwreck, we are introduced to Prospero, a wizard, who resides on a remote island with daughter Miranda and servants Caliban and Ariel, the latter of whom provides the majority of the whimsical quality The Tempest often emanates. And though themes of betrayal and revenge are prevalent, there are still comedic undertones to this enchanted, romantic tale.

Sigourney Weaver and Mara Huf (credit: Marc Brennan)

Whilst the grand scale and tempestuousness of the initial shipwreck scene at the top of act one are captured excellently, we sadly lose a degree of the magical, fanciful nature that is so often associated with this late Shakespearean comedy, this in spite of a quirky, impressively commanding performance from Mason Alexander Park as Ariel.

Soutra Gilmour’s set and costumes are rather wonderful, especially those of Prospero, Ariel and Ferdinand, each having a distinct aesthetic and personality to them. Jon Clark displays fabulous versatility with his lighting design, which brings Gilmour’s set to life to terrific effect, and the sound design by Ben & Max Ringham is eerie and atmospheric, lending itself well to certain scenes but not all.

Forbes Masson, Sigourney Weaver, Jason Barnett and Oliver Ryan (credit: Marc Brennan)

Leading performer Sigourney Weaver delivers an acting performance of assuredness and panache, however you do get the feeling that she is being restricted by Lloyd’s direction, as she spends much of the play stationary, sitting on a chair or standing stock still. It feels like she isn’t able to fully express herself with so little room to move. with Jude Akuwudike as Alonso,in spite of his terrific delivery of the material, however Forbes Masson as Caliban was a highlight, really throwing himself into the role with vim and verve.

This aside, an overriding deprivation of acting freedom seemed to be a constant across the board not unlike previous Lloyd productions, making this one sadly feel flat and lacking the spark it needs to really soar. Jamie Lloyd has certainly upped his game since Romeo & Juliet, but it still feels like he has a markedly incomplete understanding of the great bard’s work. This aside though, I was still more or less engaged with the narrative, which is a marked improvement.

★★★☆☆

"The Tempest" plays at the Theatre Royal Drury Lane until the 1st of February.