Review: The Tempest, The Golden Hinde

It is very exciting to step onto the deck of The Golden Hinde, a replica of the 16th-century English galleon that circumnavigated the world, captained by Sir Francis Drake. The vessel is in dry dock on Bankside, but creaky sound effects do a great job of conjuring up ocean waves, creating an impression of being at sea. As the audience of around 35 people crouched in the low-beamed interior, it was easy to imagine how challenging it would be to live in such a confined space. 

In line with its current role as a museum and event space, the ship has a bar on top deck (but no toilets, so downing pints is inadvisable). Warm clothes and sensible shoes are a good idea, and an ability to scale ladders and fit into tight spaces is needed. 

This immersive version of Shakespeare’s The Tempest is part of the Totally Thames festival of art and culture that celebrates the river throughout September. The script has been radically shortened to just one hour, but the adaptation by Rebekah King keeps the essence of the story and includes the most fun and magical bits. 

The Tempest concerns Prospero, an exiled Duke of Milan turned elderly wizard, and his young daughter Miranda, stranded on a deserted island. Betrayed by his brother Antonio and Alonso, King of Naples, Prospero casts a spell, helped by cheeky sprite Ariel, to shipwreck them on the island. After stirring up chaos and infighting among the survivors, Prospero must decide how to resolve things and move on positively.

Because this play, believed to be Shakespeare’s last, packs in so much sorcery (including an invisibility cloak, a sleeping spell, a half-sea monster, a shape-shifting harpy, a magic banquet, and demon dogs), and how much of the plot has been trimmed to fit, it’s well worth knowing the story before you arrive.

The cast of just six performers play multiple parts, donning different outer clothes to help the audience differentiate. Lines are delivered very clearly, making the Elizabethan language understandable to our modern ears. Zoé Badovinac as Prospero and Antonio does an especially good job of making Shakespeare sound like normal speech. 

Cassandra Wilson has a busy role, largely responsible for gently corralling the public between spaces, making sure that everyone arrives safely without bumping their heads. As a narrator, she fills any story gaps, and also plays both Ariel and Miranda. Wilson successfully transforms her tone and body language between spirit and human, adding a floral hair band to denote the feminine and child-like Miranda.

Hadrian Conyngham is a brilliantly acrobatic Caliban, scaling beams and bannisters like an excited insect, and capturing the misshapen half-beast perfectly. 

The show has a very intimate feel, with the performers sitting amongst us, within touching distance. At one point, the audience is split into two smaller groups, creating even greater intimacy. This cleverly enables two scenes to run at the same time in different spaces, reducing running time and reinforcing the idea that the action takes place on different sides of the island. 

For a play famously set on a music-filled island, this production is surprisingly quiet, and anyone expecting banging song and dance sequences will be disappointed. Additionally, the nautical location means the set design is restricted to heavy wooden furniture and dim lighting, so the lush island must be imagined rather than seen visually. 

However, any limitations are outweighed by the magic of the seafaring atmosphere. It felt very special to have access to such an iconic historic structure after hours, and The Tempest is the perfect choice for the location.

Produced and Directed by Callie Nestleroth
Adapted from William Shakespeare’s play by Rebekah King

The Tempest plays two more shows on The Golden Hinde on Tuesday 22 September