The Tempest

With this light and magical version of The Tempest, after 25 years at the helm, John Bell delivers an impressive swan song in this his last production for the Bell Shakespeare Company.

Everyone - and notably set and costume designer Julie Lynch, lighting designer Damien Cooper and composer Alan John - has together created a transportive, ethereal island world where Prospero reigns but the spirits have good lessons for humanity. 

Centerstage is the refreshingly natural Brian Lipson. His Prospero is most convincing as the ageing academic longing for his books, perhaps less so as the deposed Duke controlling his island and intent on revenge when his usurpers are storm-wrecked upon it.  

Eloise Winestock is perfect as his rebellious and adoring tomboy daughter, but the play hangs on Matthew Backer’s exceptionally beautiful movement and song as the incredulous spirit Ariel.  John Bell inventively navigates through The Tempest’s many traps - its lengthy exposition at the start, its plodding wrap-up and its often heavy handed mix of tomfoolery, twee sentiment and melodramatic jealousies.  

His compass point is the tender genius of Ariel and his kind, and Bell’s ability to make real joy from the “funny characters”.Here he’s well-blessed with Arky Michael (as Arky MIchael!) and especially Hazem Shammas.  Damien Strouthos has the challenging role as humanity's earth-bound slave Caliban, and Maeliosa Stafford, Robert Alexander and Felix Gentle are all also strong.

Bell assembles all his forces to create, Prospero-like, a bright, enchanting world, and he uses the sort of simple and convincing stagecraft which Shakespeare would have recognised.

Martin Portus

Photographer: Prudence Upton