Shakespeare’s enchanted isle is an environmentally friendly haven surrounded by recycled detritus in this child-friendly reimagining – even if Prospero (Mark Theodore) subjects islanders to generating the eco-powered energy needed to keep it running.
Prospero’s magic is conjured by the help of an iPad while the island’s captured creatures, Ariel (Juliet Agnes) and Caliban (Ashley D Gayle), wear luminous tubes around their bodies that contract whenever they disobey their imperial master.
This Unicorn theatre co-production is snappily performed at 75 minutes without an interval, its dialogue staying faithful to Shakespeare’s verse but the diction a few beats slower and clearer. It is punctuated with songs composed by Harry Blake, his lyrics summarising the story, and there are punchy numbers such as Lovestruck and Ban Ban Caliban with which we are encouraged to sing along.
Director Jennifer Tang re-uses the two-tiered set of Robin Hood: The Legend. Re-written, also playing at the venue, in meaningful ways and there is strength in the sound, designed by Tingying Dong, from the sloshing of sea waves to claps of thunder in the shipwreck that brings Ferdinand (Finlay McGuigan) to the island, and into Miranda’s (Daisy Prosper) lovestruck field of vision. Their romance is played as a gawky teenage romcom and is warming to watch.
But what really shines is the humorous subplot, especially the scene in which the king’s drunken butler Stephano (Alice Keedwell) sees the jester Trinculo (McGuigan) hiding from the storm beneath Caliban, which brings the physical comedy fully alive. Much of this is down to McGuigan, who also plays Ferdinand as an entertaining nerd, while Keedwell doubles as Alonsa, a gender-inverted King of Naples.
When John Bulleid’s illusions appear, they are delightful, such as a takeaway delivery for Alonsa in which we see a bucket of fried chicken suspended in the air, although the production is perhaps a little lean on such magic trick moments.
Prospero’s reign comes across as a clear critique of colonial tyranny but the abjuring of his magic is abrupt and some of the deceptions in the plot might not reach younger audiences: my nieces, aged 12 and eight, were foggy on its twists by the end. Still, it is a lovely introduction to Shakespeare and the natural surroundings of the venue add to its magic.
At Regent’s Park Open Air theatre, London, until 22 July. Then at the Unicorn theatre, London, from 19 September-15 October.
