Branagh commands his post-colonial island of delights

Sir Kenneth Branagh as Prospero. Photo by Johan Persson.

The Tempest by William Shakespeare at the Royal Shakespeare Theatre, Stratford-upon-Avon, on until June 20. Directed by Richard Eyre.

Review by Julie Chamberlain

Kenneth Branagh in the key role of Prospero - his first performance at Stratford in 30 years - is clearly the big draw to this sold-out production, and he does not disappoint.

From the moment he strides on to the stage in silence, sits behind a music stand and conducts/conjures up a storm he is in complete control of the action. Prospero, rightly the Duke of Milan, is the on-stage director of all that happens, waving action on with the stick which functions as baton and also magician’s wand.

The actor is 65 so old enough to have a 17-year-old daughter such as Miranda, but the part is generally played by someone who looks and acts much older, as befits a character who tells us ‘every third thought shall be my grave’. Unsurprisingly he delivers all his key speeches with aplomb, but strides around mastering the stage with more vigour than many actors who have taken the role. Even when not the centre of the action he is often present, conducting from the side.

Halle Brown as Spirit, Fred Woodley-Evans as Ferdinand, Ruby Stokes as Mirands and Razak Osman as Spirit. Photo by Johan Persson.

The island setting of The Tempest, logically between Italy and Africa, is also in this production given a starring role, creating a special dynamic and changing how some characters and relationships are portrayed.

Although the island has been colonised by seventeenth century Italians in period costume, the wonderful music which makes a stunning soundscape is mainly played on African instruments, and its masque owes a lot to African dance.

The tempest brings to the island Prospero’s usurping brother Antonio, King Alonso of Naples and his son Ferdinand, Gonzalo the prime minister of Naples and other seafarers. Prospero then uses his spirit/servant Ariel to lead them through various trials until he is able to confront them.

Amara Okereke as Ariel and Sir Kenneth Branagh as Prospero. Photo by Johan Persson.

Ruby Stokes, in her RSC debut as Miranda, is excellent with just the right amount of teen attitude mixed with respect for her father, who unknown to her has brought Ferdinand to the island so they can fall in love, and he can secure her as queen-to-be of Naples. When he commands her to ‘shake it off’ and they smile knowingly at the audience in references to the Taylor Swift song it raises a laugh but seems out of place.

Director Richard Eyre writes in the programme that he ‘came to see the world of the play through a post-colonial lens’, and this dominates the production – not a bad thing.

Prospero speaks harshly of Caliban, often referred to as a monstrous thing, but the cast list describes him as ‘indigenous to the island’. His crime of wanting to rape Miranda, who had taught him many things including language, is referred to but she seems to show him no malice. Ashley Zhangazha plays Caliban as more of a Man-Friday character, frightened of the noble who has taken over the island, but not a terrible creature. His wonderful speech about the ‘sounds and sweet airs that give delight and hurt not’, so wonderful ‘that when I wak’d I cried to dream again’ is accompanied by ethereal music.

Ashley Zhangazha as Caliban. Photo by Johan Persson.

Ariel, the ‘aerial spirit’ Prospero freed from Caliban’s witch mother but then kept to do his own bidding (Amara Okereke) spends most of the time suspended above the stage, often spinning on her cords, or flying upside down over the shipwrecked crew as she directs their actions. This is a brave performance, and Okereke (another RSC debut) also demonstrates an impressive singing voice. However, the flying conjures up thoughts of Tinkerbell. Despite repeatedly asking Prospero when she can go free the pair seem close, often tenderly touching hands, downplaying his dominance of her.

Guy Henry as Stephano. Photo by Johan Persson.

As usual with RSC productions, the special effects are wonderful. A tap of Prospero’s stick conjures up visions of Italian nobles. The floor tilts to throw sailors around in the storm, and they fight their way through Rousseau-inspired jungles.

The music is a sparkling summer joy, played by musicians including renowned Senagalese kora player Kadialy Kouyate, and djembe drummer Sidiki Dembélé.

Eyre knew his angle on this production and in its treatment of post-colonial themes has brought it into the 21st century, despite keeping its 17th century setting.

 Discover more: https://www.rsc.org.uk/the-tempest/