Stormy Tempest proves mild success

Shakespeare's last, greatest romance is often prone to excessive over-interpretation - as a colonial allegory, feminist tract or even as a Green manifesto. The RSC's new production, then, somewhat surprises when it chooses an off-kilter, art approach over politicising indulgence.

Director James MacDonald, famed for his productions of the dark genius of the late Sarah Kane, last took the reigns of an RSC play with the seething, psychotic Roberto Zucco. That play was dominated by the superb Zubin Varla, who here pulls off a stooped, pustule-ridden Caliban with some success. Convincingly downtrodden, Varla's angry slave treads the measured line between disgust and pity.

He is dominated and tormented by Philip Voss' interesting Prospero, who veers between carpet-slippers grandfather and wild megalomaniac - sometimes a little too arbitrarily. Voss does well to present a vulnerability that is often overlooked, especially in relation to his teenage daughter, played by Nikki Amuka-Bird. She fitfully captures the innocent wonder of cosseted fifteen year old Miranda, and manages to carry off her part with skill. The counterpoint to earthy Caliban, airy spirit Ariel, is portrayed with wide-eyed servility by Gilz Terera, though the dynamic between air and earth is underemployed, with the pair having little or no interaction.

MacDonald enlivens the action with some interesting set pieces which attempt to add a magical quality to the generally minimal approach of the play, but is sometimes guilty of overusing effects.The use of discordant vocals to represent enchanting music proves startling at their first use, charming both the audience and the players with their otherworldiness. By the close, however, we have heard the music many times, and what was captivating has become tired through overuse.Similarly, the blessings of Juno, Ceres and Iris - the weariest part of Shakespeare's text - is given new life as Macdonald slots in an incongruous, though amusing, musical hall dance routine. The solid performances of supporting cast members allow Prospero and Caliban to dominate, although the buffoonery of gargantuan Stephano (James Saxon) is only rivalled by the camp, Laurel-eqsue portrayal of jester Trinculo by Julian Kerridge.

MacDonald and Voss also capture the knowing quality of the play, with Prospero's awareness of the stage palpable, but not overwhelming.The production scores moderated success, with some genuine moments of insight and crisp direction, but the sluggish pace of the second half takes away a measure of the freshness brought by the first.

The Tempest