13 May – 20 June

Richard Eyre’s is an unabashed post imperial Tempest in which Caliban (Ashley Zhangazha) is the oppressed rightful lord of the island, more the manipulator of Trinculo and Stephano than monster devoid of agency. The Europeans with few exceptions are drunken sots or morally bankrupt interlopers in what Gonzalo (Paul Jesson) describes as a potential paradise. So Caliban, no less than Prospero, is making the most of the situation that the tempest has created. The point is driven home when, Prospero having abjured his magic, Caliban dons Prospero’s magical cape before both he and Ariel are released into freedom.

Branagh’s Prospero is a man in a hurry. Whatever plans he may have made this is a man determined to seize the moment that the fates have delivered. There is an urgency in his manner, a taut thrusting as of a man on a precipice about to make an important leap as he reveals his history and identity to Miranda. Here is a man who parades his learning and indulges in an unmistakable flamboyance in both dress and dressing. Whilst Mr Branagh may not have the vocal equipment of a great tragedian, being flexible yet softer in tone than one might expect of a rafter rattler, he lacks nothing in sensitivity. Moreover he more than compensates with his eyes. Here lies the secret of his intelligent performance. Ariel (Amara Okereke) is no mere drudge. The connection with this most physical and yet aerial of Ariels is at times quite touching and the sparkle in his eyes for Miranda is no less for his captive spirit for whom he evidently has an emotional connection. The dad-daughter relationship is strikingly fresh and indulgent though with an amusing scent of smugness about the success of his creation. Chuffed she may be with her ‘brave new world’, but if she can argue the toss with her father, Ruby Stokes’ Miranda, will be no starry-eyed pushover for any man. Naples, we feel, will be the better for her presence.

The staging of this production shows moments of brilliance. Having Prospero conducting the storm from a score puts him in control of all that follows, his powers –  the result of learning, seemingly boundless. The projections and stage mechanics are used to great effect. Lost however in the general din is a sense of the numbscull antics of the nobles which threaten the safety of the ship. Bob Crowley’s Rousseau inspired settings for the jungle add something to the wit that Mr Eyre has sprinkled through the production and suggest a vibrancy to the flora and fauna of the enchanted isle.

With the magnanimity of Prospero’s forgiveness to his brother, Antonio, and his one time adversary, the Duke of Naples Mr. Eyre has produced a ‘revenge’ play of humanity depth and wit.

★★★★☆    Graham Wyles    29 May 2026