Review: The Tempest: This Island, Cockpit Theatre

Brave Mirror Productions presents a carefully crafted, compact reimagining of William Shakespeare‘s final comedy, The Tempest in only90-minutes. But do not fear, Shakespeare enthusiasts, this skilful rendition retains all the famous lines, scenes and speeches.

The play tells of Prospero (Sarah Wanendeya), an aged magician and the rightful Duke of Milan, shipwrecked on an island alongside daughter Miranda (Julia Pilkington). They are confronted by the figures of their past when they too wash up on the same isle. In a notable departure from tradition, Prospero is here portrayed by a woman.

The Cockpit is a beautiful venue and Director Jamie Saul employs a thrust-style stage within it, littering the central area with books and suitcases. This underscores Prospero’s intellectual prowess and authority, simultaneously hinting at a longing to depart. Connor Divers‘ lighting design complements Saul’s vision, adding a beautiful dimension of magic, particularly when the ceiling is illuminated with stars for Miranda and Ferdinand (Josh Radcliffe) to dance beneath. Maia Harding further complements this visual splendour with her composition and sound design. A harmonious blend of light and sound profoundly captivate the audience.

The opening scene between mother-daughter duo Prospero and Miranda is tentative; the pacing initially feels sluggish, lacking a palpable connection between the two. However, with Radcliffe’s energetic entrance as Sebastian, the momentum shifts; the performance gains vitality.

This adaptation features Prospero’s ethereal pet spirit Ariel being portrayed by different performers at various moments, evoking the sensation of possession after their being lulled to sleep by the spirit. This is in keeping with the tradition of the other characters’ inability to see the pair and adds an unsettling air of otherness; Ariel possesses the ability to inhabit anyone at any moment, rendering it an otherworldly spirit. A particularly enchanting moment occurs as Ariel inhabits Miranda, pleading with Prospero for liberation. This draws striking parallels between Ariel’s spirit and Miranda’s aspirations to transcend the confines imposed by her mother.

Wanendeya as Prospero lacks the almighty command and spellbinding control you’d expect from Prospero throughout most of the piece. However, she truly shines during Prospero’s renowned “Our revels now have ended” speech, vividly embodying the great magician and former Duke of Milan.

The chemistry between coy young lovers is beautifully played by Pilkington and Radcliffe as Miranda and Ferdinand; their comedic timing is brilliant, and it truly feels like watching two people fall in love for the first time.

However, the standout performance belongs to Tallula White (Antonio and Trinculo), who excels as Trinculo. Her impeccable comedic timing and engaging rapport with the audience are noteworthy. She is ably paired with Dulcie Godfrey (Sebastian and Stephano), who matches White’s wit and rapid-fire delivery. Their playful banter over a flask while tormenting Joseph Hollas’ Caliban provides moments of genuine laughter.

This adaptation concludes on something of a cliff hanger, with fools Stephano and Trinculo holding Prospero at knife point and backing her into a corner. It is a refreshing deviation from the conventional happy endings of Shakespeare’s comedies, introducing an element of surprise to the narrative. Indeed, Brave Mirror Production’s production is a robust, comedic reimagining of Shakespeare’s final work.

Directed by: Jamie Saul
Lighting design by: Connor Divers
Sound design by: Maia Harding
Produced by: Brave Mirror Productions
Technician: Amy Hill
Technical Supervisor & Operator: Issy Walker

The Tempest: This Island plays at Cockpit Theatre until Saturday 26 April.