Podcast Summary: MickeyJoTheatre Episode on "The Tempest" at Theatre Royal Drury Lane
Episode Information
- Title: The Tempest (Theatre Royal Drury Lane, West End) - ★★ REVIEW
- Host: Mickey Jo from MickeyJoTheatre
- Release Date: January 7, 2025
Introduction
In this episode, Mickey Jo delves into his review of the latest West End production of William Shakespeare's The Tempest at Theatre Royal Drury Lane. Drawing from his extensive experience in theatre criticism, Mickey assesses the direction, performances, and overall execution of the play under the helmsmanship of Olivier Award-winning director Jamie Lloyd.
Background on Jamie Lloyd
Mickey provides an overview of director Jamie Lloyd's illustrious career, highlighting his acclaimed productions such as Romeo and Juliet and Sunset Boulevard. He mentions Lloyd's upcoming projects, including major West End revivals like Evita, Angela Webber's new musical, a Broadway revival of Waiting for Godot, and the succeeding Shakespearean play, Much Ado About Nothing.
Quote:
"As one of the leading voices in theatre criticism on a social platform, Mickey-Jo is pioneering a new medium for a dwindling field." (00:00)
Plot Overview and Adaptations
Mickey outlines the traditional plot of The Tempest, noting significant adaptations in this production:
- Prospero as a Female Character: Reimagined as Prospera, portrayed by Sigourney Weaver, aligning with previous interpretations like Julie Taymor's 2011 film featuring Dame Helen Mirren.
- Inclusion of Female Gonzalo: Gonzalo is also reimagined as a female character, adding depth to the dynamics between Prospero and Gonzalo.
He emphasizes that while the core narrative remains intact—with themes of magic, betrayal, romance, and power struggles—the production takes a more traditional approach by eliminating modern elements such as microphones, cameras, and on-stage blood.
Quote:
"What I mean by that, in a morph formal sense, is that presented with such an exciting variety of themes and tone... It is fatally dull." (00:00)
Production Design and Technical Elements
Set and Visuals:
- The staging is predominantly bleak and gray, evoking a desolate island atmosphere.
- Use of large, billowing cloth to represent magical elements and transitions.
- Minimal color palette focusing on grays and blues, with occasional use of soft blue washes during romantic scenes.
Costumes:
- Designed by Sutra Gilmour, blending bohemian and science fiction aesthetics reminiscent of Star Wars or Dune.
- Characters like Ariel and Ferdinand display costumes that enhance their ethereal and regal qualities.
Sound and Lighting:
- Sound design by Ben and Max Righam incorporates low booms and piercing soundscapes, though Mickey critiques their overuse, especially during comedic scenes.
- Lighting by John Clarke effectively differentiates scenes but occasionally clashes with tonal shifts, particularly between dramatic and comedic moments.
Quote:
"The set that was revealed was multiple mounds of sort of dirt, stones... It looked a little like the surface of hell on a cold day." (00:00)
Performance Analysis
Sigourney Weaver as Prospero:
- Delivers a regal and majestic presence, embodying the maternal aspects of Prospera.
- Mickey notes a lack of emotional range throughout most of the play, with a notable surge of emotion towards the end during Prospero's decision to forgive.
- Criticizes the use of a lisp in Prospero's delivery, feeling it detracts from Weaver's performance and the character's authenticity.
Mason Alexander Park as Ariel:
- Praised for their magnetic stage presence and the mystical charm brought to the role.
- Their performance stands out, especially during scenes involving magical incantations and song, adding depth and emotion to the production.
Caliban's Portrayal:
- Mickey finds the portrayal of Caliban confusing and miscast, lacking the intended sorrow and failing to evoke sympathy.
- Costume choices for Caliban are described as grotesque but missing the underlying emotional complexity.
Supporting Cast:
- Selena Cadell as Gonzalo and James Phoon as Ferdinand receive commendations for their charming and believable performances.
- Joshua Barnett and Matthew Horn as Stefano and Trinculo excel in their comedic roles, though their humor feels disconnected from the play's overall bleak tone.
Quote:
"Mason's very mystical presence is also at its greatest when they are singing... Those parts of the play shimmer far brighter than the rest of it." (00:00)
Criticisms and Concerns
Overall Tone:
- The production is criticized for its relentlessly bleak and sorrowful tone, which undermines the play's inherent comedic and romantic elements.
- Mickey feels that the lack of visual and emotional levity makes the production fatally dull, potentially alienating new audiences unfamiliar with Shakespeare.
Technical Execution:
- Overuse of sound effects disrupts the narrative flow and creates discomfort during scenes meant to be humorous.
- The exposed stage walls and lighting rigs at Theatre Royal Drury Lane are seen as distracting, failing to contribute meaningfully to the set's aesthetic.
Impact on Shakespearean Theatre:
- Mickey expresses concern that such a dark portrayal could reinforce negative stereotypes about Shakespeare, deterring audiences from engaging with future productions.
- Worries that audiences experiencing this bleak version might disengage from Shakespearean theatre altogether.
Quote:
"This improved, like I said, towards the end of the play, she found that necessary rage. And in much her Shakespearean delivery, I thought there was a poetry that was not really apparent in many of the rest of the performances." (00:00)
Conclusion
Mickey Jo concludes that while Jamie Lloyd's The Tempest showcases moments of brilliance, particularly through Mason Alexander Park's performance as Ariel, the overall execution falls short. The production's heavy-handed bleakness and technical missteps overshadow its strengths, resulting in a disappointing rendition of a richly thematic Shakespearean play. Mickey remains cautiously optimistic about Lloyd's future projects but urges a more balanced approach to preserve the essence and accessibility of Shakespeare for diverse audiences.
Quote:
"But too much of the rest of its capabilities and real fruits as a piece have been forsaken, I think, in the name of, I don't know, sad Virginia vibes." (00:00)
Looking Ahead
Mickey hints at upcoming reviews, including:
- Much Ado About Nothing: Featuring Tom Hiddleston and Hayley Atwell as Beatrice and Benedick.
- Richard II at the Bridge Theatre: Starring Jonathan Bailey.
He encourages listeners to subscribe to his YouTube channel and engage in discussions about their own experiences with Shakespearean productions.
Final Quote:
"I hope that everyone is staying safe and that you have a stagey day." (00:00)
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