Branagh’s Commanding Breath: A Review of The RSC’s ‘The Tempest’

Branagh’s long-awaited return to the RSC saw him take on the role of Prospero in Richard Eyre’s production of The Tempest (1610-11) at the Royal Shakespeare Theatre in Stratford-upon-Avon.

The story takes place on a remote Mediterranean island. Prospero sets off a terrible tempest, endangering his brother Antonio and his royal party and stranding them on the island. The story follows the lives of Prospero, his daughter Miranda, and the ‘monstrous’ native Caliban on the island, as well as exploring the restorative, tense, and simply comic relationships which emerge between the parties.

Many believe Prospero represents Shakespeare’s own attitude to the theatrical world by the end of his career, and Eyre’s direction undoubtedly leans into this narrative

The final play Shakespeare wrote alone, The Tempest is widely viewed as somewhat autobiographical; many believe Prospero represents Shakespeare’s own attitude to the theatrical world by the end of his career, and Eyre’s direction undoubtedly leans into this narrative.

Eyre’s production begins suddenly. The lights still up, Prospero (Kenneth Branagh) confidently strides towards the only prop on an empty stage: an unassuming music stand.

Interpreted as a conductor to represent his magical control on the island, with a wave of his baton and a deep breath powerful enough to silence an entire theatre, Prospero immediately draws the audience under his spell. We become immersed in this world which Prospero creates from nothing, as a storm, a sailboat, and crew appear seemingly in a moment in front of our eyes. Prospero points, someone speaks; he is a figure of utmost command. This theme of Prospero’s watchful command pervades the production. His presence is almost constant; Eyre seems to suggest that it is entirely through him that the story unfolds. Our reliance on Prospero for the creation of this story is established immediately and maintained strongly throughout, perhaps leaning into the autobiographical narrative by symbolising Shakespeare’s engagement of audiences with the stories of his theatre: he commanded through characters and environments he created just like Prospero on this island.

Although beginning as a flat stage and back-wall projection of a starry sky, the set seems to constantly expand throughout, creating the impression of a deep, dark, never-ending landscape

Thinking about characters, a particular highlight in this production are the comic trio of Caliban (Ashley Zhangazha), Trinculo (Keir Charles), and Stefano (Guy Henry). The moment Trinculo wanders on stage desperately itching his legs, the audience begins to stir. The atmosphere only grows through his first interaction with Caliban, culminating in uproarious laughter when Trinculo throws himself under a tarpaulin, declaring boldly that “misery acquaints a man with strange-bedfellows”, perfectly capturing the light-hearted relief that this exchange should provide.

While the company delivers engaging characters in both command and comedy, perhaps the true hero of this production is set designer Bob Crowley’s design. Although beginning as a flat stage and back-wall projection of a starry sky, the set seems to constantly expand throughout, creating the impression of a deep, dark, never-ending landscape.

When Antonio and his noblemen enter, they emerge convincingly from leaf-like curtains nestled in a huge mural of wild tropical plants. Later, the stage appears to expand even further as we witness the comic trio trailing through the landscape in the distance. The island’s emergence seemingly from nothing strikes the audience again as a symbol of Prospero’s command; he is apparently able to create space where there was none before.

Prospero enables the possibility of a new future, just as Shakespeare symbolically leaves an open theatrical space for new individuals to embrace 

However, the play’s ending boasts Crowley’s most striking decision. As Prospero snaps his baton and leaves the stage, a curtain falls dramatically behind Caliban and Ariel (Amara Okereke), revealing the naked back wall of the theatre, technical equipment and all. The sudden emptiness and disrobement of Prospero’s constructed world paints a somewhat haunting image of the unknown, but equally a prevailing image of hope. Prospero creates a clean slate for Caliban and Ariel to exist outside his control as he exits not from stage left or right, but from the back door instead, seemingly leaving the island finally and indefinitely. In his final commanding moment, Prospero enables the possibility of a new future, just as Shakespeare symbolically leaves an open theatrical space for new individuals to embrace as he ends his career with this final play. Perhaps Prospero himself puts it best in his final, heartfelt plea in his epilogue to the audience: “Let your indulgence set me free”.

The RSC’s The Tempest is no longer running, but check out their website for more information on exciting upcoming productions.

★★★★