As much as one welcomes the reinterpretation of Shakespeare to suit and reflect the age, it is no less pleasurable and rewarding at times to see the unadorned Elizabethan, ‘thing in itself’, which is as likely as any other kind of production to provoke insights and understandings. Making such performances their stock-in-trade are, The Lord Chamberlain’s Men, an all male company with ‘authenticity’ as a central guiding principle. Named after Shakespeare’s own company (indeed they are The Lord Chamberlain’s Men) their itinerary looks like a cultural Baedeker raid on the English countryside in summer, with the attractive locations serving if not as extra cast members, then certainly as part of the theatrical draw. Last night’s location was Brandon Hill in Bristol, one of the country’s oldest municipal parks overlooking the city and the river.

Danann Mc Aleer’s is an irascible Prospero, in a hurry to get off the island, but not before all the loose ends of his situation are tied up and the wrongs done to him redressed. With this gruff Prospero we feel that Ariel and Caliban are as much bullied into submission as charmed by magic. By the same token his benevolence and willingness to forgive are more marked than might be the case when exercised by a more bookish, wronged Duke.

Simon Jenkins has created a distinctly un-camp, yet feminine Miranda, refined, graceful and resourceful. One of the best of director, Peter Stickney’s jokes is when a somewhat more robust Miranda picks up a log that has defeated the court-enervated Ferdinand (Ronnie Yorke) with apparent ease.

William Pennington’s spring-loaded Ariel looks set to break into dance at any moment and is suitably other-worldly whilst retaining a petulance at having his natural liberties circumscribed by Prospero, the unintentional interloper.

Morgan Brind’s multi-functional set helps focus the action and is well handled by the director as, for example, he early on has Prospero in the midst of the storm he has created. The comedy scenes between Caliban, Trinculo and Stephano are all the better for being done in a straightforward knockabout style. Similarly the folklore style masque scene has an engaging freshness which recalls the mummers plays which would have been familiar to an Elizabethan audience. The charm of the music in this most musical of Shakespeare’s plays is simply and effectively applied by Alex Beetschen, with songs and tunes throughout.

Mr Stickney has served up perfect holiday fare; a joyful celebration of the Bard, intelligent without condescension, whilst unlocking some of those secrets and joys of Shakespeare production, which may get overlooked in more self-consciously ‘relevant’ interpretations.     ★★★★☆    Graham Wyles   28^th July 2018

Photo by James Beedham