Jermyn Street Theatre
Reviewed – 30th November 2021
“the verse reading of Michael Pennington in this space is inspiring”
How can a venue as intimate as the Jermyn Street Theatre manage a production of The Tempest? Director Tom Littler pulls it off with an ensemble of just eight players and the mighty Michael Pennington as Prospero. The set (Set & Costume Design by Neil Irish & Anett Black) hints at a desert island existence: bits of boat, an oar, sheeting that could be old sail, seashells. Wavy shelves line the walls, Prospero’s all-important books lying this way and that. An island soundscape pervades the space (Composer & Sound Design by Max Pappenheim), waves roll along the beach, exotic birds tweet.
Prospero, using a model boat as an aid, conjures up a storm and we see a group of mariners behind a gauze fearing for their lives. Pennington possesses a calm authority which emphasises the frailty of the enchanter. The honey tone of his speaking voice is pleasing to the ear but, with book in hand throughout, he is limited in his movement. Communication with the audience is not as intense as it could be in this miniature space but when he does glance up with a whimsical smile and a twinkle in his eyes, we see a master actor at work.
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The success of this production lies with the superlative actors’ skills in doubling roles. Richard Derrington and Peter Bramhill have two double acts. Firstly, as Antonio and Sebastian, in silk dressing gowns, they are snide and condescending towards the King’s advisor Gonzalo (Lynn Farleigh) and then menacingly circle the sleeping King (Jim Findley), knives in hands, plotting murder. Some moments later and they are back as Stephano in a thermal onesie, and Trinculo in tails and bowler hat – the comic relief, breaking the fourth wall with their drunken jests. Tam Williams has no easy task doubling Caliban – half naked, bruised and scarred, a cowl covering his head, at his best when whispering the pathos of the creature – and a rather wet-behind-the-ears Prince Ferdinand in striped pyjamas.
Whitney Kehinde’s Ariel holds everything together. Harnessing her inner Puck, she weaves around the stage, arms whirling. Two of her songs stand out – Full Fathom Five and Where the Bee Sucks – in which the verse becomes part of her magical incantation emphasised by haunting electronic effects.
Rachel Pickup’s Miranda lights up the stage. Her love-at-first-sight scene is delightful although this Ferdinand is less convincing in showing that the attraction is mutual. And Miranda’s wide-eyed amazement at seeing more humans for the first time drew many smiles behind the masks of this audience.
This is an effective but low-key Tempest. Prospero’s valedictory speech in which he intends to break his staff and drown his book is deliberately underplayed and the Gauguin-inspired wedding masque does not convince. But the verse reading of Michael Pennington in this space is inspiring. The Jermyn Street Theatre’s auditorium, in which you can hear every nuance of every word, is as much the star of the show as the actors upon the stage.
Reviewed by Phillip Money
Photography by Steve Gregson
Jermyn Street Theatre until 22nd December
Previously reviewed at this venue this year:
Footfalls and Rockaby | ★★★★★ | November 2021
This Beautiful Future | ★★★ | August 2021
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