The Tempest

Review by Sam

⭐️⭐️⭐️

Jamie Lloyd kicks off his season of Shakespeare at Theatre Royal Drury Lane, as Sigourney Weaver makes her West End debut as Prospero.

Shakespeare’s classic follows a shipwrecked crew who are washed up on a magical island. It is here that the wizard Prospero uses her magic and slaves to torment the survivors. Lloyd has directed a stylistically mystical version of this text, leaning heavily into the other-worldly nature of the plot. Hauntingly beautiful lighting design by Jon Clark creates striking imagery, paired perfectly with impressive stage craft tricks. A scene stealing curtain seamlessly glides across the stage, magically revealing actors to the audience in a truly astonishing way.

Soutra Gilmour’s set design is dynamic, feeling inspired by Dune as domed hills traverse the stage. Scattered gravel also covers the set, used cleverly to assist entrances in an increasingly eerie way. I wasn’t however entirely sold on the sets effectiveness. The bare bones of the theatre are exposed around the stages perimeter, detracting from the incredible visuals which are created.

Historically Prospero has been played by a male actor, but Lloyd has re-imagined the character in this production. Weaver gives a performance which sadly feels one-note due to some disappointing direction. For the majority of the play she is seated and delivers the dialogue in an almost monotone state. Direction in the second act does improve, however the play feels so drawn out that by this point interest in the action has dwindled.

Mason Alexander Park’s performance is a huge highlight, delivering hauntingly beautiful vocals, high-wire tricks and sinister acting. Forbes Masson also gives a standout performance, leaning into the madness of their character in a chaotically excellent way. The cast also brilliantly inject comedy throughout, with Mathew Horne utilising the updated text for big laughs.

For the most part the cast is strong, the lighting is bold, but sadly the show feels lacking in magic. Some swings and misses are made, leaving me sadly underwhelmed once again by Lloyd’s take on another Shakespearean classic.