This review was originaly written for and published by The Public Reviews at:
Writer: William Shakespeare
Director: Andy Arnold
Design: Hazel Blue
Lighting Design: Sergey Jakovsky
Sound Design: Barry McCall
Tron Artistic Director Andy Arnold directs a predominantly female cast from the Royal Conservatoire of Scotland’s MA Classical and Contemporary Text programme, in this his Mayfesto production of The Tempest: Shakespeare’s tale of magic, morality, love and betrayal.
While the programme notes state ‘the text has been slightly edited’, it manages to stick largely to Shakespeare’s original whilst giving greater focus to the themes of colonisation which exist in the text: indeed in this production the play’s first and last words are given over to Martinican poet, politician and denouncer of colonial racism, Aimé Césaire. These judicious cuts result in a lively and engaging production which whips along at a cracking pace.
The production scores highly on atmosphere: Hazel Blue’s inventive staging, an earthy hued island with a skeleton of a high-masted sailing ship, provides enough interest for the eye without detracting from the action and is complemented well by Sergey Jakovsky’s effective lighting design. However it must be said that Barry McCall’s sound design whilst evocative, often drowns out whole patches of dialogue, whether this is down to poor enunciation on the part of the actors or a heavy-hand on the volume button one cannot tell.
Arnold’s nimble direction showcases the skill of his actors and keeps the interest levels high throughout; indeed he manages to elicit some beautifully measured performances and a United Nations of accents from this youthful cast. Standout among them Rebecca Murphy as Prospero, who delivers a perfectly controlled central performance, though her extremely strident Australian accent sometimes consigns some of Prospero’s most notable lines to the winds. Kenny Boyle’s Ariel is a less sulky characterisation than the usual and his mastery of the ethereal other-worldliness of the sprightly spirit is captivating. The two are ably supported by the rest of the company, most noteworthy among them Flora Sowerby’s Cockney wide-boy Stephano and Amy Drummond’s Welsh Valley Trinculo, who provide the high comedy of the piece. There is also a more thoughtful and dignified portrayal of the native, enslaved Caliban from Renee Williams.
This is a refreshing departure from the more traditional stagings of the play and the perfect showcase for these young actors at the start of their careers. A vibrant re-telling of the tale, visually pleasing, bristling with life and with some new food for thought thrown in. Well worth catching if you can.
Runs until 16th May 2014