The Tempest

'The Tempest' is one of my favourite Shakespeare plays. It contains one of his most imaginative settings, which can be truly wondrous with the right budget and in terms of character dynamics and genre it is unique. Again, Shakespeare's mastery of text is evident throughout with many memorable, iconic in some cases, lines, speeches and scenes. And the characters are not easy to forget, with the play boasting two of for me Shakespeare's greatest characters in Prospero and Caliban.

Stratford's 2019 production is an absolute dream and as far as productions of 'The Tempest' go, this is among the best of them and of the filmed Stratford productions it's one of the best too. It captures all the charm and magic, as well as the fun and poignancy, of the play and adds plenty of its own. Like other filmed Stratford productions, there is plenty for traditionalists and those already familiar with 'The Tempest' to enjoy. While also providing plenty to enjoy for those not familiar in a way that is accessible yet tasteful.

Visually, the production is quite stunning. Not just the twinkling tree lighting or the magically atmospheric yet never overblown sets, but also the very colourful and inventively designed costumes. Have not seen such unique costuming for the Roman Goddesses especially. The music has mysterious eeriness but enchanting beauty as well, perfectly fitting the many complex moods of the play and any gear changes are seamless rather than a hodge-podge.

No problems can be found with Shakespeare's writing, much of it is out of this world and the best quotes are some of his most iconic. Text that is delivered beautifully and adapted with faithfulness and no issue with coherence. The staging has more than enough to make it stand out in its own way, especially the character dynamics with the most insightful (in a way unlike any production of 'The Tempest' seen) being the one being between Prospero and Miranda. It also succeeds in making the enchantment come alive, not overplaying the comedy and giving the drama a lot of heart.

The most talked about touch is Prospero being female, this gender reversal is not a new idea for Shakespeare productions in recent years (Royal Shakespeare Company did this in many recent productions with varied success) but this is one of the most successful and most insightful attempts and made me see the character in a whole new light. This production of 'The Tempest' felt fresh but was also done in good taste and made sense, which are the most important things when doing something different from the usual.

All the performances are super too, with the standout being the masterful Prospero of Martha Henry, the role is a very complex one which is performed with restrained authority and nuance. Michael Blake makes one feel repulsed and pitiful towards Caliban, while Andre Morin is an amorous and full of life Ariel. Sebastien Heins and Mamie Zwettler make for charming, but not passive, lovers and the comedic roles don't fall into the trap of being over-played or annoying, the comedy here being effortlessly funny.

In conclusion, brilliant. 10/10.

A quite satisfactory rendition of Shakespeare's play by the Stratford Festival, filming their stage version of this play. Casting a female in the lead role of Prospero has been done several times recently, notably by Helen Mirren and Harriet Walter. (If you get a chance, check out the latter's stunning delivery - you won't be disappointed!). In this case, Martha Henry gives a somewhat restrained but very poignant presentation of this complex character - part former rule, part loving mother, part ruling master and overall, master creator (i.e., writer). Her performance really helped me believe what many think: this was Shakespeare's swan song to his audiences.

The difficulty in presenting The Tempest is how to make a play which is part revenge-motive, part tender love story, part slapstick comedy, part murderous plotting and part pure fantasy something near an integral whole. Director Barry Avrich succeeds in this, I believe, by precise timing of the staging changes. In this way, the audience's focus is allowed to readjust to the totally new circumstances which repeatedly cross the stage.

Particular mention should be given to the comic performances of Tom McCamus and Stephen Ouimette in the roles of Stafano and Trinculo. Their timing, body gestures, and intricate manners of playing off the clumsy Caliban (played quite well by Michael Blake) are exceptionally engaging.

All-in-all, well done, although I still personally prefer the Phyllida Lloyd's Donmar Warehouse presentation.