Tag Archives: Rachael Nanyonjo

The Tempest

The Tempest

★★★★

Shakespeare’s Globe

The Tempest

The Tempest

Shakespeare’s Globe

Reviewed – 29th July 2022

★★★★

 

“we’re perfectly happy to sit a little longer, marvelling at the all-sorts gathered on stage”

 

The Tempest is so easily, and so often, staged as a play of a single lead character, the mighty Prospero, with a generous sprinkling of small parts dallying around him. But in Sean Holmes’ production, there are no small parts. Each character finds their allies and enemies on stage, and each is the centre of their own story. Perhaps this is due to artistic director Michelle Terry’s idea of a Globe Ensemble: these actors have been working together for what should be a year, but owing to the pandemic is likely closer to two. And the confidences and friendships which have developed give this production a glorious esprit de corps: Whilst Ferdy Roberts has the most lines, he’s just one in a big family.

That being said, Roberts is fabulous as self-important Prospero. De-robing in the first thirty seconds to reveal a very small pair of yellow swimming briefs, he manifests both Prospero’s wild amount of self-confidence and his innate ridiculousness; perhaps he’s unable to laugh at himself, but we have plenty to laugh at.

Having been betrayed by his brother years ago and sent out to sea with his young daughter to near-certain death, Prospero discovers that his brother is now sailing in a wedding party past the desert island he now inhabits. He sends his servant-spirit Ariel to cause a storm and shipwreck the party, scattering them across the island, ripe for vengeful antics.

Whilst Prospero is often described as a sorcerer, under Holmes’ direction, the only magic he appears to have performed is making Ariel feel indebted to him. So, any time he requires magic to be done, there she appears, with a flick of the wrist. Rachel Hannah Clarke is cheeky but resolute as Ariel, enjoying her tasks of playful manipulation, whilst also holding a solemn gaze with Prospero in talks of her freedom.

It’s this balance of playfulness and gravity that dictates the play’s atmosphere. Yes, the stage is filled with swimming inflatables- a lobster, a flamingo- and it feels completely apt that characters should be bewitched to behave like dogs and think they’re Harry Potter, but there is also much loss and betrayal which is somehow still strikingly felt amidst all the hijinks.

Whilst planes overhead often feature ad-libitum at the Globe, Ralph Davis’ perfectly timed screech for help as a plane passes by, is brilliant. In fact, he has quite a few bold moments of ad-libbing (“O, touch me not; I am not Stephano…I’m the boy who lived.”) which feels especially transgressive in a Shakespeare play but works wonderfully.

Ciarán O’Brien’s Caliban, traditionally played as grotesque and feral, is here a stroppy, sheltered teenager, which feels much less problematic and leaves plenty of space for us to think he might very well earn his freedom after the play is done.

By far my favourite moment is the celebratory dance performed by gods and spirits on Prospero’s request as a gift to his daughter Miranda and her betrothed Ferdinand. Maybe ten or fifteen appear, wearing floral-patchworked white jumpsuits, flower crowns and rose-tinted glasses, clutching palm fronds. At first the dance is flat-out bizarre, and soon it becomes overtly sexual as the ‘gods’ hump the air, moving closer and closer to the couple, eventually resulting in what appears to be a group orgasm, much to Prospero’s horror.

Like many of Shakespeare’s comedies, it takes a little too long to wrap up, insisting on accounting for every single character, one after the other. But so much good will has been won by then that we’re perfectly happy to sit a little longer, marvelling at the all-sorts gathered on stage, or gazing up past the Globe’s thatched roof to the clear summer sky.

 

Reviewed by Miriam Sallon

Photography by Marc Brenner

 


The Tempest

Shakespeare’s Globe until 22nd October

 

Recent shows reviewed by Miriam:

Witness For The Prosecution | ★★★★★ | London County Hall | April 2022
100 Paintings | ★★ | Hope Theatre | May 2022
La Bohème | ★★★½ | King’s Head Theatre | May 2022
Y’Mam | ★★★★ | Soho Theatre | May 2022
The Fellowship | ★★★ | Hampstead Theatre | June 2022
I Can’t Hear You | ★★★★ | Theatre503 | July 2022
The Hive | ★★★ | Hoxton Hall | July 2022
Hungry | ★★★★★ | Soho Theatre | July 2022
Oh Mother | ★★★★ | Soho Theatre | July 2022
An Intervention | ★★★½ | Greenwich Theatre | July 2022

 

Click here to see our most recent reviews

 

Cinderella

★★★½

Nottingham Playhouse

Cinderella

Cinderella

Nottingham Playhouse

Reviewed – 13th December 2020

★★★½

 

“an experience that will give you all the laughs, cheer, and warmth that panto did when you were a kid”

 

Suffice it to say a lot of Christmas traditions will have to change this year, but in spite of everything, Nottingham Playhouse’s pantomime Cinderella has stayed steadfast. It’s had to adapt, of course, but it still delivers the festive family fun that we’ve come to know and love from panto.

Featuring no close contact on stage, Cinderella was filmed with a distanced audience comprised of the theatre’s staff, ensuring a safe experience for all that still provides that level of liveness and audience interaction that panto thrives off. Despite these alterations, the plot and characters remain as classic as ever – there’s Buttons (Tim Frater), the ugly stepsisters (John Elkington and Tom Hopcroft), a charming prince with his assistant (David Albury and Jessica Lee respectively), an evil stepmother doubling as a fairy godmother (Sara Poyzer), and of course Cinderella herself (Gabrielle Brooks). A great cast all round, with Elkington particularly shining through a cheeky relationship with the audience and some well-placed fourth-wall breaks. Brooks was also excellent in the title role, radiating a sunny wholesomeness that makes you root for her.

Adam Penford’s script and direction work well given the confines, with an abundance of current-events jokes that mostly land – there are some shots at Brexit and Trump which feel a bit tired, but conversely a lot of great humour around everything that’s happened this year that’s in good taste, a feat which I’m sure many other panto scripts won’t have managed. This show smartly also doesn’t over-egg the ‘he’s behind you’ style tropes that might’ve felt cumbersome as someone not participating live, leaving for a show with a quick-flowing pace that’s sure to keep the attention of even the most restless kids.

Of course, the other vital tenet of any good panto is the songs, and this is where Cinderella stumbles slightly. Despite strong musical direction from John Morton, some of the song choices feel very loosely connected to the context of the scene and as though they’re just there because they’re recognisable. Rachel Nanyonjo has clearly put in great effort as choreographer to work around restrictions but certain moments, such as the dance between Cinderella and the prince, simply feel lacking due to the absence of contact.

What Cinderella delivers that in spades, though, is the cosiness of watching a pantomime. Despite some Covid compromises, this is still an experience that will give you all the laughs, cheer, and warmth that panto did when you were a kid, and if you’re looking at online options for your family Christmas show, you need look no further.

 

 

Reviewed by Ethan Doyle

Photography by Pamela Raith

 

Nottingham Playhouse

Cinderella

Live at Nottingham Playhouse also available on demand online until 16th January

 

Recently reviewed by Ethan:
Republic | ★★★★ | The Vaults | February 2020
Ryan Lane Will Be There Now In A Minute | ★★★★ | The Vaults | February 2020
Big | | Network Theatre | March 2020
Stages | ★★★½ | Network Theatre | March 2020
Songs For A New World | ★★★ | Online | July 2020
Entrée | ★★★★ | Online | September 2020
Rose | ★★ | Online | September 2020
Apollo 13: The Dark Side Of The Moon | ★★★★ | Online | October 2020
People Show 138: Last Day | ★★★★ | Online | October 2020
The Fabulist Fox Sister | ★★★★ | Online | December 2020

 

Click here to see our most recent reviews