Branagh & Co Sail Serenely through The Tempest

There is a delicious irony in Shakespeare’s The Tempest, where Prospero declares in his final monologue that the revels now are ended, the actors will dissolve into air and the insubstantial pageant ‘will leave not a rack behind’.

It’s more than a final monologue – some academics declare the words are Shakespeare’s own final \farewell after a lifetime of conjuring lives onto the stage.

Yet, Swan of Avon, writer with unrivalled insight into the human condition, here we are on a Saturday night in rainy Stratford 416 years later, witness to an enthralling new version of this timeless play where art, autobiography and artifice combine to create a production with not a single weak link.

The revels certainly aren’t over yet.

The Tempest sees leading actor Kenneth Branagh (pictured above) return to the RSC after 30 years, and the company’s directorial debut of stage veteran Richard Eyre.

Branagh is commanding from the start, with an enthralling performance, from his first stentorian breath to his final exit, head bowed, through the audience.

His conjuring of the initial shipwreck, with video effects and sound design by Akhila Krishnan and Nicola T Chang , sets a roaring pace for the play providing the perfect foil to his later tender/controlling fatherly interactions with Miranda, his daughter, (an excellent Ruby Stokes in her RSC debut).

Branagh moves effortlessly from furious vengeance seeker to resigned elder statesman where ‘every third thought shall be my grave’ – it really is a memorable and outstanding performance from this astonishing actor.

There’s a currency too in casting Ashley Zhangazha as Caliban and Amara Okereke as Ariel, clearly exploring colonial themes head-on with sensitivity, intelligence and care. Both actors combine heart-rending speeches on the diverse nature of freedom with challenging physical performances with consummate skill.

And while on the subject of physical performances, Guy Henry (Stephano) and Keir Charles (Trinculo) as the court’s shipwrecked butler and jester are meticulous in their attention to every detail in their delivery as two fools bewitched by their surroundings and the spirits they encounter. Shakespeare’s clowning at its absolute best.

The Royal Shakespeare Theatre continues to be one of the most accessible venues in which to enjoy top quality drama. From well signposted access into the building itself to wide entrances in every part of the venue, it’s an easy building to navigate. The team administrating audio devices are careful to ensure users can easily understand the technology and there is always a host of helpful, clearly uniformed staff in the theatre itself, keen to lend a hand to ensure your best possible experience.

Tickets for productions are £18 for both people with disabilities and their carers. When you book, you’ll be asked for as much information as possible, to ensure the team can offer the best possible advice on how to make the most of your visit. Be really clear about your needs – the RSC team will use their expertise to support and advise you on ways they can help.

Later this summer there’s a major treat in store, when the RSC/Unicorn Theatre production of A Midsummer Night’s Dream comes to The Other Place in Stratford.

Every performance will use ‘creative captions’ ensuring an immersive experience for visitors young and old, especially designed to make theatre accessible for the neurodiverse and disabled. There are also chilled performances, a range of touch tours and audio described sessions. And the RSC’s ticket pricing means it’s an affordable treat.

It promises to be an exciting production – find out more on the RSC website https://www.rsc.org.uk/a-midsummer-nights-dream/assisted-performances.

To find out more about this and future productions visit the RSC website https://www.rsc.org.uk/your-visit/access/tickets-booking-and-seating-plans or ring the team on 01789 331 275.

Photo credit: Johan Persson