The Tempest

Next up at Nantwich Players was William Shakespeare’s ‘The Tempest’, which was directed by Garth Jones. In his notes in the programme, Garth said that he wanted to suggest in the setting an Elizabethan/Jacobean theatre, but to use the technology available to create a more modern theatrical experience. Garth’s vision was clearly realised in this production. The set invoked the feeling of an Elizabethan/Jacobean theatre, with the incorporation of projections adding to the modernity of the piece. The images used were basic, but added depth to the production. Garth’s direction was secure throughout, with well-developed characters and thoughtful blocking. The song and dance moments were performed well by the cast. The storytelling was good throughout, helped by Garth’s clear direction. The storyline would have been clear for those with an aversion to Shakespeare! The costumes were traditional dress, and looked very good. Prospero’s cloak was magical, and the costuming for Ariel helped to create the ethereal look. Costumes were a strong feature of this production.

Technical elements were good throughout the production. The sound used was cued well. It was a little loud, especially in the opening storm scene, with dialogue lost because of it. The lighting was good, with good effects used for the storm. The projections on the walls stage left and stage right were good and helped transport the audience to the different locations on the island.

Taking on the role of Prospero was Janan Chopra. Janan had a great understanding of the role, and delivered Shakespeare’s words effortlessly with great clarity and precision. She had a great command of the stage. Having the character be presented as a female character worked extremely well. It allowed a more motherly Prospero to emerge, especially with Miranda.

Elle Gardiner was a delightful Miranda. She was bright and breezy in her scenes. The relationship developed with Lorenzo’s Ferdinand was great and they created a believable partnership.

Vanessa Carter threw herself into the role of Ariel. She was constantly flitting around the stage, which suited the mystical element of the character. She used her voice and physicality well to create this ethereal being.

Dave Foyle used his physicality and vocals to great effect to create his version of Caliban. Initially, Dave was able to show how scared Caliban was of Prospero, and it was great to see how the character developed through Dave’s interactions with Stephano and Trinculo.

David Bryan did well as Alonso. He was suitably regal, using his voice and posture well to convey this. There was a great authority to the character.

Nigel Vernon played Sebastian. This was another pleasing performance. Nigel was assured in his lines, and showed the true character of Sebastian. He worked well with Avril, creating a conniving partnership.

Lorenzo Carcione impressed as Ferdinand. He delivered Shakespeare’s lines with confidence and ease. There were great interactions with Miranda, as their relationship developed throughout the performance. This was a pleasing supporting performance.

Avril Jones played Antonia. This was a pleasing performance from Avril, as she was able to show her thirst for power. Again, it was great to see the dynamics between warring sisters and the way that she used her femininity to persuade Sebastian to overthrow Alonso.

Steve Bird played Gonzalo. This was a very good supporting performance from Steve, playing Prospero’s true confidante. Steve gave a grounded portrayal, showing the character’s loyalty to Prospero.

Taking on the comic relief roles were Max Tebbitts as Stephano and John Mackay as Trinculo. John’s deadpan line delivery was spot on and brought laugh out loud moments. Max was the complete opposite, and was very animated in the role. Together, they created a good comic double act.

Toni Mortimer (Adrian and Ship’s Master), Jonathan Everitt (Boatswain), Daniel Chadwick (Mariner) and Barry Carter (Mariner) contributed well to the production in their roles, whether it was in the opening storm scene or in the choreographed moments of the production.

Sarah Whitfield-Green (Iris and Spirit), Carla Gonen (Ceres and Spirit), Sophie Studzinska (Juno and Spirit) and Hester Molyneux (Spirit) worked well together, adding to the magical elements of the production. They contributed well to the production.

Overall, this was a good production. The storytelling was good, there were some good performances, and there was a good understanding of the text.

A big thank you to everyone at Nantwich Players for their kind invite.

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