The early release of production images suggested that with The Tempest, we might be in for something different from Jamie Lloyd. Something resembling costumes, and perhaps even some set?
Following a hit and multi-award-winning, stripped-back run of Sunset Boulevard, Lloyd did much the same, to lesser effect with Romeo and Juliet. The next piece of Shakespeare to get the Jamie Lloyd treatment is The Tempest, marking the first staging of Shakespeare at Drury Lane in over fifty years, and starring Hollywood icon Sigourney Weaver.
With the big-name star in place, Jamie Lloyd’s new staging of The Tempest is certainly an example of how a classic can be reinterpreted. Here, Lloyd brings his signature approach to Shakespeare’s final play, blending the timeless story of power, revenge, and redemption with a different theatrical language.
Under Lloyd’s direction, The Tempest feels both expansive and intensely personal. While the vast stage is open to view (nothing says mythical island quite like roller shutter doors), the action is confined to the very front of the stage. The production embraces the play’s themes of isolation and transformation, amplifying the otherworldliness of Prospero’s island while grounding the emotional core in a way that feels modern.
There’s a shift away from the camera work and moody mumbling into microphones, moving toward something that more closely resembles ‘traditional’ Shakespeare. However, the stage remains sparse, and the costumes fulfill their purpose without adding anything more. There are, of course, no props, and no staff for Prospero to break either.
The set design (Soutra Gilmour) contributes to the ethereal atmosphere, with bold visual elements that reflect the play’s mystical qualities. A large sail floats eerily, mimicking the unpredictability of the storm and waves. But aside from that, Prospero’s island is mostly conjured through Jon Clark’s lighting design.
The supporting cast delivers strong performances, particularly Mason Alexander Park as Ariel, whose ethereal presence adds to the supernatural quality of the island. Their sung elements are also especially enjoyable.
Likewise, Caliban, played superbly by Forbes Masson, is both monstrous and tragic, bringing a raw physicality and complexity to a character often seen as one-dimensional. Mara Huff and James Phoon as Miranda and Ferdinand are delightful together, but their story is curtailed here. So too are the more comedic elements. Matthew Horne’s Trinculo and Jason Barnett’s Stephano feel shoehorned in.
Seeing Prospero played as a female character adds an interesting twist to proceedings, especially in her interactions with Miranda. Obviously, it’s a real treat to see Sigourney Weaver on stage, and she does a fine job of capturing the complexity of a woman torn between vengeance and the desire for reconciliation. However, when it comes to delivering the lines, her performance feels flat and often unclear.
Despite the stripped-back nature, the production’s design elements are a feast for the senses, and further heighten the play’s magical atmosphere, especially during the tempestuous scenes and moments of revelation. The use of light and shadow accentuates the emotional shifts in the story, from the dark and stormy opening to the redemptive moments of the play’s conclusion.
Jamie Lloyd’s The Tempest at the Theatre Royal Drury Lane is a visually appealing and occasionally emotionally resonant production that reimagines a Shakespearean classic for a modern audience. The casting of a Hollywood star is likely to draw in new audiences to Shakespeare, but whether this production converts them to fans, or simply leaves them bewildered, remains to be seen.
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