by William Shakespeare.
Shakespeare’s Globe 21 New Globe Walk Bankside SE1 9DT In rep to 18 August 2013.
1pm 26 May, 2, 9, 16 June, 11 Aug.
2pm 30 May, 6, 27, 29 June, 4 July, 7, 14 Aug.
6.30pm 26 May, 2, 9, 16 June, 4, 11, 18 Aug.
7.30pm 22, 23, 29 May, 1, 5, 8, 15, 26, 28 June, 3 July, 6, 9, 13, 14 Aug.
12 am 9 Aug.
Audio-described 16 June 1pm.
BSL Signed 26 May 1pm.
Runs 2hr 50min One interval.
TICKETS: 020 7401 9919.
Review: Timothy Ramsden 17 May.
Playful Tempest at the great Globe itself.
Within two years chance was to play ironically with Prospero’s statement that “the great globe itself”, would vanish, when a stage-effect completely burnt the first Globe Playhouse. Yet it had already vanished for William Shakespeare, who had turned to writing this play for court, its stage demands geared to new indoor contrivances.
Then the Stratford boy, who landed in London after several years no-one knows where, to create strange wonders in his plays, returned home prosperous to enjoy his final years in a market-town, leaving this story of a duke who arrives, after time lost at sea, on a strange island where he acquires power to work wonders, before returning to his dukedom to think, every third thought, upon his death. Shakespeare had become rich; but had playwriting been a life well spent? Ask the audience – as Prospero does.
The Tempest was originally set-down a comedy, as Jeremy Herrin’s Globe revival treats it, largely through Roger Allam’s considerable technique and dramatic intelligence as Prospero. A repertoire of silences, ironic tinges and changes of emotional register show the story’s main actor also becoming an observer – at one point lying on the balcony watching others.
It makes noticeable the amount of time Prospero is not around, because Allam gives his scenes their own tone and because Herrin allows space for everything to develop. It works wonders for the clowns, Sam Cox’s tall wand of a Stephano drawing himself full-height in pompous drunkenness trying to assure itself its sober, contrasting Trevor Fox’s Geordie Trinculo, his fool’s cap like soft antlers veering him awry.
It also gives anxiety for the future. Not just how long the villains will be tamed, but how Jessie Buckley’s wildish-child Miranda will find Joshua James’ naïve, posturing Ferdinand back on the mainland.
And what will happen on the island, when James Garnon’s purposeful Caliban has no-one to rule, and Colin Morgan’s Ariel, a slow-learner needing encouragement and protection, doesn’t have Prospero’s magic. It’s an intriguing performance, that reminds the only thing this spirit of air did before the play is get himself imprisoned in a tree by Caliban’s mum.
Prospero: Roger Allam.
Antonio: Jason Baughan.
Miranda: Jessie Buckley.
Stephano: Sam Cox.
Gonzalo: Pip Donaghy.
Alonso: Peter Hamilton Dyer.
Trinculo: Trevor Fox.
Caliban: James Garnon.
Ferdinand: Joshua James.
Sebastian: William Mannering.
Ariel: Colin Morgan.
Boatswain/Adrian: Matthew Raymond.
Iris/Spirit: Sarah Sweeney.
Ceres/Spirit: Amanda Wilkin.
Spirits: Tim Durant-Pritchard, Peter Rose.
Director: Jeremy Herrin.
Designer: Max Jones.
Composer: Stephen Warbeck.
Musical Director: Rob Millett.
Voice/Dialect: Martin McKellan.
Globe Associate – Text: Giles Block.
Globe Associate – Movement: Glynn MacDonald.
Choreographer: Siân Williams.
Fight director: Bret Yount.
Assistant director: Hannah Bannister.
Assistant choreographer: Fiona Creese.
Associate text: Ng Choon Ping.
Assistant text: Emily Jenkins.