RSC's The Tempest at Barbican
The Tempest surely has to be one of the hardest Shakespeare plays to pull off convincingly on stage, but in the RSC's most digitally innovative production to date, we were shipwrecked on an island with Prospero and Miranda.
I've seen a fair few Shakespeare plays; from the sublime performances in Macbeth and Much A Do About Nothing at the RSC in Stratford-upon-Avon to the amateur Taming of The Shrew and A Winter's Tale in the abbey ruins, Reading. I even saw the Reduced Shakespeare Company, which in itself was total genius.
However, I went into the Barbican expecting to be let down. I just couldn't imagine how they would do the shipwreck scene without million pound sets and CGI. And I was expecting messy scene changes and blackouts aplenty.
I'm pleased to say it didn't meet my expectation. It completely dispelled it.
The awe began before the play had started, as we could see the skeleton of the ship's hull gently rocking as people took their seats. The ships framework acted like a scaffolding for the rest of the play, allowing it to be a platform where eavesdropping and dance could take place. And the centre acting as a tropical thoroughfare.
As the lighting caused the ship to violently thrash on stage, the backdropped provided a perfect canvas for lightning to strike the ship.
The mechanical chandelier was a constant throughout the play, providing the perfect place for Ariel to reek havoc to plotting islanders in the most fantastical way.
Standout performances were from the Caliban, who played the monster to perfection. And Ariel, whose omnipresence in acting, singing and dancing showed the breadth of his talent.
However, it wasn't just the perfection of Shakespeare's prose that warranted praise, but also the fusion of disciplines. The scene where Juno et al entertained Miranda and Sebastian turned into something worthy of the Opera House, as three voices soared through the rafters. And the band of spirits whose musicality and movement captivated could have been lifted straight out of the Royal Ballet.
This play was magnificent in every way. Well thought out and showcased all the arts, digital and traditional, in one 3-hour play. I believe Empire magazine would call this a triumph.
I've seen a fair few Shakespeare plays; from the sublime performances in Macbeth and Much A Do About Nothing at the RSC in Stratford-upon-Avon to the amateur Taming of The Shrew and A Winter's Tale in the abbey ruins, Reading. I even saw the Reduced Shakespeare Company, which in itself was total genius.
However, I went into the Barbican expecting to be let down. I just couldn't imagine how they would do the shipwreck scene without million pound sets and CGI. And I was expecting messy scene changes and blackouts aplenty.
I'm pleased to say it didn't meet my expectation. It completely dispelled it.
The awe began before the play had started, as we could see the skeleton of the ship's hull gently rocking as people took their seats. The ships framework acted like a scaffolding for the rest of the play, allowing it to be a platform where eavesdropping and dance could take place. And the centre acting as a tropical thoroughfare.
As the lighting caused the ship to violently thrash on stage, the backdropped provided a perfect canvas for lightning to strike the ship.
The mechanical chandelier was a constant throughout the play, providing the perfect place for Ariel to reek havoc to plotting islanders in the most fantastical way.
Standout performances were from the Caliban, who played the monster to perfection. And Ariel, whose omnipresence in acting, singing and dancing showed the breadth of his talent.
However, it wasn't just the perfection of Shakespeare's prose that warranted praise, but also the fusion of disciplines. The scene where Juno et al entertained Miranda and Sebastian turned into something worthy of the Opera House, as three voices soared through the rafters. And the band of spirits whose musicality and movement captivated could have been lifted straight out of the Royal Ballet.
This play was magnificent in every way. Well thought out and showcased all the arts, digital and traditional, in one 3-hour play. I believe Empire magazine would call this a triumph.
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