Thank you to the volunteers for their welcome and help. There is a temporary bar area plus an outlet to purchase non-alcoholic drinks and snacks. The seating is quite comfortable but you might want to take a cushion as the play is fairly long and a blanket to keep yourself warm as the sun goes down.
The set design was very effective – a raised central platform, another platform at the side where there were no seats and a large mock tree which doubled as a cave at its bottom and a vantage point at its apex. One of the most striking aspects of the show was the fabulous costumes which really helped to enhance the plot, establish who the characters were and their status. The sound and lighting effects were put together well, but my friend and I did struggle to hear some of the dialogue when accompanied by music, which, whilst very fitting for the action, was a little loud. The props used were also good and appropriate to what unfolded.
In case any of the readers are unfamiliar with the play, I will not say too much about the plot in order not to spoil it, other than to set the context and describe part of the opening scene. The rightful Duke of Milan, Prospero (Carl Howard), has been banished twelve years earlier by Antonio (Jason Gallantry) to an island along with his daughter Miranda (Sarah Randle). Miranda was played well, if a little understated for my liking. Accompanying them is the spirit Ariel (Millie Bryant) who is, or can be, invisible to all who visit the island. Prospero weaves his magic and causes a ship containing his enemies to run aground. We see the mariners struggling to pull the wrecked ship to safety and are introduced to Gonzalo (Vince Perry), who put in a sterling effort throughout.
Following that, we witness a lengthy and emotional scene involving Prospero and Miranda; she was a girl when arriving on the island but is now in her late teens or early 20s. Whilst this was generally well played out, there were two issues which I feel I must mention. First, I would have liked closer chemistry between father and daughter as it is implied that Miranda's mother is dead. Secondly, there was a rather unfortunate point where Prospero forgot his lines and had to briefly go off stage. To his credit, he recovered quickly and delivered a performance worthy of this meaty role thereafter. One of the shipwrecked party is handsome Ferdinand (nicely played by Conor Medlock) whom Prospero captures. Perhaps unsurprisingly, virginal maiden Miranda and Ferdinand are immediately smitten with each other.
I enjoyed almost all aspects of this production and it was definitely well received by the audience. I had forgotten that there is quite a bit of music in this play and this added a lot to the atmosphere, especially when the spirits and nymphs came on stage. The ensemble handled their roles with vigour as did Ariel, who made full use of the whole stage and the platforms, bounding and leaping around in a skin-tight turquoise leotard!
The only other minor issue was
that some of the cast needed to strengthen their projection as my friend and I
couldn't catch all of the words when actors were facing away from us. Charles
Riley was superb as the scary and somewhat crazed Caliban, and I particularly
want to congratulate the following on their delivery and characterisation:
Sebastienne (Bethany Culshaw), Trinculo (Pauline Garland), Stephano (Simon
Garland) and Alonso (Mark Prescott). There is a temptation to rush through a
five act play such as this but the pace was nicely managed. In conclusion, I
can certainly recommend the show it which runs nightly until Saturday June the
25th, starting at 7:30pm.
Reviewer - David Swift
on - 23.6.22
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