A Review of the Magdalen Players’ The Tempest

It feels like a prerequisite of gardens plays that it must be a Shakespeare or a Wilde, but typically colleges lean towards comedy rather than something as politically knotted at The Tempest. However, clearly the creative team of the Magdalen Players think differently, opting for this more serious play no doubt in the hope of breaking out of the repetition so present in Trinity term theatre. This bold decision is reflected through the eye-catching costumes and the wonderfully timed show dates during a stormy week here in Oxford.

Opening with the namesake storm, the play throws audiences immediately into the world that has been created, providing tastes of various elements that will come into play later in the story. In particular, the ingenious use of microphones allow the cast not only to be heard over the raging storm but also add an otherworldly echo to the scene. This technique is utilised later with great effect and is certainly one of the standout tech moments of the performance. The ethereal experience of Ariel’s voice during various scenes adds a magic to the mysterious island and, in fact, EP Siegel’s performance as a whole is one of otherworldliness. Siegel’s physicality perfectly portrays the spirit form of Ariel, bringing the notoriously difficult character to life with the aid of cherubim wings and graceful movement. Likewise, Henry Nurse’s portrayal of Caliban deserves a shoutout. But, stealing the show, it is Annabelle Higgins’s Miranda who captivates in every scene she is in, her depth and range of emotion always drawing the eye. She is a true pleasure to watch.

The costumes are wonderfully wacky and colourful, embracing a lightness and fun that is often lost in this play. With bold colour choices ( such as red for our comic relief trio) and interesting layering, costume designer Liberty Mountain ensures that this production is visually memorable. There has no doubt been some inspiration from the recent west end production, which is particularly evident in the costume choices. We see feathers and corsets in an echo of Jamie Lloyd’s Caliban and Ariel, the ghosting adding a certain awareness of the tradition into which the Magdalen Players have become a part.

I do have to question the staging choices this year, which have migrated onto the lawn rather than taking full advantage of the stage that exists within the President’s garden. With most of the action taking place on a level with the audience, the question arises as to how much the back rows are actually able to see. If you are planning to see this show I wholeheartedly recommend arriving early so as to grab a front row seat! As with many outdoor productions there were certainly some sound issues which arose, particularly when trying to hear certain performers. Much of Prospero’s muttering was lost for certain.

The quintessential garden play is one which encourages you to laugh, it is fun and a little less serious than your typical theatre experience, and this performance definitely achieves that. Attending with high expectations following my last experience of a Magdalen Players production, I will admit to being a little disappointed by this slightly lacklustre experience; however, this is not to say that the show isn’t completely without merit. There are certainly some good ideas and some talented actors deserving of note.