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Jermyn Street Theatre, London  

The Tempest is one of Shakespeare’s best-loved plays, and once again the tiny Jermyn Street Theatre has proved that small can be beautiful and the very limited space turned into a magical space, in which both a shipwreck and an island appear before our eyes.

The set, with undulations suggestive of the sea, combines with strobe lighting and weird, echoing sounds (the isle indeed is “full of noises”) to create a world in which Prospero can work his rough magic and Ariel can do her (for she is a most agile black songstress) “spiriting gently”. Best of all is the cast. They do some amazing doubling-up. The same actor is both the vulgar comedian, Trinculo, and the plotting brother to the King of Naples, while another is both the drunken butler, Stephano, and the dastardly Duke of Milan. Most amazing of all is the transformation of a young and handsome prince into the smelly monster, Caliban. How do they manage these changes of costume and character so seamlessly?

It is the language, however, that holds the key to a great production. To hear Shakespeare spoken well is such a joy, and all the cast here do that splendidly. The plot is made easy to follow and is enlivened with some knock-about comedy. But the theme of revenge giving way to forgiveness and resignation is a moving one, and this cynical old reviewer had to take his tissue out as Michael Pennington enunciated those wonderful lines of Prospero’s about the ending of the revels and the breaking of his staff. This is a theatrical experience to treasure.

  • Drama
  • By William Shakespeare
  • Directed by Tom Littler
  • Set and costume design by Neil Irish / Anett Black
  • Music and sound design by Max Pappenheim
  • Cast includes: Peter Bramhill, Kirsty Bushell, Richard Derrington, Lynn Farleigh, Whitney Kehinde,Tam Williams
  • Jermyn Street Theatre, London  
  • Until the 4th April 2020
  • Time : 7.30 p.m. (running time: 2 hours, plus 15-minute interval)

About The Author

Trustee & Reviewer (UK)

Richard McKee is a lawyer, and used to be a judge, but despite that (or because of that) he likes comedy, cabaret and pantomime.  These are the things that he reviews for Plays to See, for which – in view of his great age – he is also a trustee.  He leaves the serious stuff to the young!  But seriously, though, he thinks it is a great idea for young reviewers to hone their critical faculties and communication skills by writing for Plays to See, and feels privileged to be involved in its current expansion.

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