(reviewed at the Theatre in the Forest, Jimmy’s Farm, Wherstead on 29 July)
“Ramshackle” and “shenanigans” are two words mentioned in the programme for Joanna Carrick’s production of The Tempest, this summer’s Shakespeare from the Red Rose Chain at the Theatre in the Forest.
They are apt, for the cast of five appear much more at home with the rough’n’tumble of the jester and the butler than with the poetry and multi-levels of treachery, betrayal and redemption which underpin the story of Prospero, his usurping brother and the equally disfunctional royal family of Naples.
So Edward Day – who plays Prospero and Sebastien, the Milanese dukes – comes to life as clown-masked and wigged Trinculo; Prospero’s great speeches somehow seem to take second place. Rachael McCormick doubles Miranda (a typically stroppy teenager) and the pedantic but honourable councillor Gonzalo. Lawrence Russell is a boyish Ferdinand, the crown-ambitious Antonio and a literally knockabout Stephano.
This is a play, like A Midsummer Night’s Dream, where the spirit and the mortal worlds meld. Kirsty Thorpe’s Caliban not only provides some of the production’s most intelligent speaking but makes Alonso’s grief at the apparent loss of both his daughter (to marriage) and his son (presumed drowned) credible. Jack Parker is an Ariel with an underpinning of Puck as he seeks to earn his freedom.
Carrick’s production makes much use of water, quite a lot of which finds its way among the audience; if you prefer to remain dry, don’t book for the foremost block of seats stage right. David Newborn and Carrick have created a set in sea shades peopled with oil drums and overhung by an enormous sail.
Costumes for the shipwrecked contingent run variations on hot orange; island dwellers sport greens and more sea-blue. Laura Norman’s soundscape has live additions from the farm donkeys, beautifully on cue at “The isle is full of noises”. McCormick is also the choreographer.
The Tempest continues at the Theatre in the Forest until 28 August with matinées on 6, 13, 20 and 27 August.
(reviewed at the Hippodrome, Great Yarmouth on 12 May)
The early 20th century Hippodrome Circus building just west of Great Yarmouth’s seafront offers opportunities for 21st century spectacle in a production of what is arguably Shakespeare’s last complete play which reflects the early 17th century masque tradition. Director William Galinsky takes full advantage of the space.
Visually, you can’t fault this production designed by Laura Hopkins. Two semi-circular beds of mudflats with a causeway running between them, as at Mersea Island down the coast, aerial acrobats (Lost in Translation Circus), swimmers, strange hooded sea monsters in human form, rain and floods – what more could you ask for? Well, clarity of speech would be helpful; too many cast members at the performance I saw seemed to be suffering from an epidemic of the mumbles.
As Miranda, Pi Laborde Noguez is the principal offender. Tony Guilfoyl’s Prospero is mostly audible, and credible in his portrayal of a man who slowly comes to abrogate the consuming bitterness which has enveloped him since he was ast adrift from his duchy. Jane Leaney is a string Ariel, alternatively swathed in magenta and black and suggesting that, once free, she might well be Prospero’s proper mate.
Ferdinand in Freddy Carter’s interpretation has a good balance between teenage naïveté and a growing awareness that tasks are worth accomplishing properly, not a bad philosophy for a future king. Graeme McKnight makes no attempt to play Caliban for sympathy; this son of Sycorax is truly his mother’s offspring. Ravi Aujla gives Alonso a dignity which at times seems at odd with his previous support for Oliver Senton’s usurping Antonio. Antonio’s mirror-image is of course Adam Burton’s power-hungry Sebastian.
Colin Hurley’s Stephano is an almost-lovable rogue Stephano with John McCarthy as his side-kick (literally) Trinculo. Elder staesman Gonzalo is given a gentle characterisation by Christopher Saul; this is a man who knows that you can do as much good by stealth as with the fanfare of trumpets. When the banquet of sugar subtleties floats towards the shipwrecked nobles, it is he alone who can lie back and enjoy the fruits.
The Tempest continues at the Hippodrome, Great Yarmouth until 21 May with matinées on 14 and 21 May. It is part of this year’s Norfolk & Norwich Festival.