A Review of Pennyfarthing Productions’ The Tempest

So recently the streets of Paris, the Playhouse stage had once more been transformed, becoming a mystical island in a far-off place, filled with sound and light and an ecological endeavour. A glance at the program for The Tempest will tell you that the costumes were made from recycled materials, the set had been constructed from an array of unusual objects and techniques and with the intention to make you think. Undoubtedly, the play was one of visual spectacle, with a set that drew the audience in and a focus on physical theatre. Upon walking into the theatre, audiences were greeted with the sight of a table piled with a jumbled array of items and, in a downstage corner, a curious fishbowl. The mystery of these objects was instantly solved in the first act, the fishbowl being used by Ariel to simulate the titular tempest and the table being littered with the Boson’s tools. With his back to the audience, the Boson’s words were somewhat lost amidst the sounds of the storm, which was a pity. However, the storm itself was a spectacle to behold – promising many more to come.

This was a performance which utilised the tools available within a theatre to their fullest extent, finding new and innovative ways to depict storms, trees and the different areas of the island. There is no denying that the stage was used strongly in every instance, as was the sound and lighting. Always there was sound in the background, never allowing the audience to forget that the characters were shipwrecked upon an island that was very much alive. This sense of space was established powerfully through the use of set and a backdrop of sky and mist. Moreover, the lighting was equally as expressive, shifting to represent the weather and various locations upon the island. The costumes of the islanders suited the established environment, being made from mismatched fabric scraps and organza. They were the most innovative costumes that I have seen in Oxford, being offset with the modern and practical clothing of those shipwrecked. This created an interesting dynamic and left the audience with the assumption that, while not being explicit, the play had been modernised.

As much a part of the set as characters in themselves, it was the ensemble who stole the show. With their costumes looking like something foraged from fabric offcuts and their creeping movements, these five silent observers were almost always present upon the stage. Acting as the spirits doing Ariel’s bidding, the storm, a tree, the natives of the island, the ensemble used the skill and versatility of physical theatre in a powerful way. They were a reminder that the most important tool upon a stage is an actor’s body and so much can be achieved without the necessity of complex props or costume. While the creeping forms of the spirits upon the rocks was a striking image, it was the creation of the tree which stuck in my mind. Incorporating the sounds of cracking bark, a tree grew upon around the form of Sycorax in a creative and beautiful way. Perhaps the placement of this extract of the island’s history within the narrative was a little confusing; however, it was in itself spectacular to behold. But one cannot talk of physical theatre, sprites and the power of movement without including Ariel within the count. Played with strength and an awareness of the character’s true elemental form, the depiction of my favourite character was in no way a disappointment. The light gentleness and vulnerability of the enslaved being was perfectly countered with moments of anger and control. Joe Rachman’s performance was one of the most eye-catching in the show, particularly in that moment in which he stood upon the destroyed banquet table frightening the company who had come across it.

Of course, Ariel is but a slave to a powerful master (or in this case mistress). There were two notable changes of gender within the cast, with both the ruler of the island and the ruler of Naples moving away from their traditional male origins. In the case of Prospero, the character’s name was changed by Prospera, with the Queen of Naples being renamed Alonsa. The character of the watchful Prospera was played by Isabelle Lever with a clear knowledge of the inner workings of the role and the game being played across the island. The occasional slip up on the lines was unfortunate, yet these moments were recovered with ease. To take on a character who crackles with such raw energy and power was a brave undertaking, as was the decision to move away from the typically male depiction of the role. The dynamic of the character’s interactions with those upon the island was not compromised by this decision, yet the anger and presence of prior portrayals of the role was not fore fronted. Rather, the character appeared more sensitive, with the final monologue, Shakespeare’s goodbye to his audiences, falling a little flat.

Countering the brooding presence of Prospera, was Molly Jones’ energetic and almost bouncing Miranda. Fresh from her role as Gerry in An American in Paris, Jones took on the role of lovestruck innocent with a skill that expressed perfectly the exuberance of youth. The physicality which was brought to the role was excellently executed, with Miranda being the dominant figure within her relationship with Ferdinand. Sam Thomas’ portrayal of the young prince was perhaps not given enough space to properly explore the role, a dilemma of such a large cast. Many of the roles were played expertly, but due to the nature of the play were relegated to minor moments rather than being able to truly delve into the depths of the characters. The characters who were provided with the space to truly flex their performance muscles were those of Stephano, Trinculo and Caliban. The drunken comedy duo, were played by two undoubtedly strong actors who took to their roles with exuberance and confidence. The role of Caliban was played with equal skill, the choice in the cast of Jelani Munroe bringing the colonial subtext of the play into sharp relief. An awareness of the play’s depth was clearly and sensitively conveyed by director Costi Levy, taking a Shakespearean play and situating it confidently within the politics of the modern day.

As a visual and immersive experience, this play was without fault. The use of the space and physical theatre, down to the depiction of Gonzalo and Alonsa sleeping, were cleverly and expertly used. While there were moments which could have been stronger and the pity of such a large cast not enabling true exploration of the characters, as a whole the play was well worth my purchase of a last minute ticket. From the moment that the audience entered we were transported to another place – our attention never being lost due to the constant presence of fantasy upon the stage. It is clear how much creative thought went into the project and the team (both cast and crew) should be immensely proud of the outcome.

Photograph: Coco Cottam