“The gardens provide a stunning backdrop and the church itself adds an element of drama to the production”
Struggling with the searing city heat? Fancy the theatre but can’t face the stifling environment of the auditorium? Head to St Paul’s, the Actor’s Church in Covent Garden and be treated to Iris Theatre’s alfresco performance of The Tempest. The gardens of St Paul’s are a delightful escape from the heat and give a beautiful backdrop to this promenade production.
With almost perfect timing at the opening scene, the wind starts to pick up and rustle through the trees creating the sense of trouble ahead. This continues as Jamie Newall playing Prospero whips up a foreboding storm and sets the fate of the King of Naples and his accompanying crew.
Charlotte Christensen is a delight as Ariel. She plays the ethereal, mystic creature so well you forget she is human as she gracefully moves around the set with an unwavering quizzical stare. Her voice is magical, and her flute playing is mesmerising. She certainly is the star of this show.
Paul Brendan as Trinculo and Reginald Edwards as Stephano delight the audience with their portrayal of drunken fools. These scenes bring a welcomed light heartedness to the evening.
The gardens provide a stunning backdrop and the church itself adds an element of drama to the production. The lighting design by Benjamin Polya used within the church is both clever and imaginative.
Despite the heat of the day the garden is much cooler than elsewhere, enclosed by tall buildings it is very shady and the temperature drops rapidly. You would be wise to take along a jacket or even a blanket to ensure you are not shivering through the closing scenes. Take advantage of the current weather and take part in this special and engaging show.
“in desperate need of greater cohesion and direction, but is supported by some stand out performances and lovely comic moments.”
In the palace of Theseus, Lysander and Demetrius fight for the hand of fair Hermia. Unfortunately Hermia loves Lysander, Hermia’s father wants her to marry Demetrius and Helena, Demetrius’ spurned lover, is still pining for him. Hermia and Lysander run away to be married, followed by a desperate Helena and a determined Demetrius. However, they are all soon lost in a wood which is, unbeknownst to them, filled with mischievous fairies and magical flowers. This is one of Shakespeare’s most famous comedies reimagined in a music festival, certainly a setting for a contemporary audience.
There are some fantastic performances. Michael Claff as Oberon is the stand out performance of the night. The text feels natural in his mouth and he elevates the play every time he sets foot on stage. Robert McLanachan is charmingly convincing as Peter Quince. Thomas Witcomb as Bottom brings an infectious pace and energy to the stage and is particularly strong when playing Pyramus. Lisa Lynn as Helena is bold, funny and unapologetic, instantly likeable. Dorian Hasani brings a lovely playful quality to the role of Lysander, reminding us that this is, after all, a comedy. There are also some lovely moments where the whole cast comes together onstage.
However, in general, the actors need to remember to respond to each other. Whilst Theseus’ lines are strongly delivered, he does not respond to or acknowledge the sexualised Hippolyta’s gestures. Puck is eloquent but unexciting, and there is nothing unique about his performance. Titiana improves over the course of the play, but fails to establish her regality and gravitas on her entrance. Like her counterpart Hippolyta, she is a heavily sexualised character, but this makes her seem weak if she is continually moving around the stage, circling and following Oberon like the spaniel Helena begs Demetrius to let her be. There is power in stillness, something the success of Oberon’s performance is clear evidence of. It is particularly vital that Titania achieves this sense of royalty and power early on, in order for her debasement (falling for a man with a donkey’s head) to be truly effective.
Whilst the music festival theme works to some extent, it would have been considerably more effective if it had only been used in the forest, and had been approached with a higher level of commitment. In some scenes it was cleverly referenced and well captured, whilst in other scenes I forgot about it all together. I think the play would be helped by clear differentiation between Theseus’ court in Athens and this magical, fairy-filled forest which is only remembered as a dream. The theme also needs to be investigated more specifically, both aesthetically and in terms of the range of music used by the production which jumped from genre to genre, and made the piece feel thematically incohesive.
As a whole, the piece lacks cohesion and direction. People are often blocking one another, and there seemed to be a tendency to push the action to the edges of the stage, sending the actors’ faces half into darkness at points. Lines were occasionally lost under the music, and many of the comedy moments were sexualised, sometimes effectively, sometimes unnecessarily. It is important to remember that the play is already funny. In trying to find new comedy within the music festival theme, much of the innate comedy of Shakespeare’s writing is lost.
The play ends on a high, with the mechanicals’ play within a play. Snout (Andre Pinto) as the wall is particularly funny, and the slapstick visual comedy is well-timed and a comic highlight of the piece. The actors work well together and it is a fantastic way to finish the play.
Credit must be given to the play’s commitment to making language which is often perceived as impenetrable, seem accessible and relevant, and it is refreshing to see such a large cast comprised of so many different nationalities (twelve to be precise). This is a production that is in desperate need of greater cohesion and direction, but is supported by some stand out performances and lovely comic moments.
