PATRICK MARMION reviews The Tempest: Tempest meets Alien… but Sigourney has no chance to weave her magic
The Tempest
As a seasoned theatre-goer and connoisseur of the arts, I must say that Sigourney Weaver’s West End debut in The Tempest at Theatre Royal Drury Lane was an intriguing and thought-provoking experience.
Theatre Royal Drury Lane, London
This week, there’s been a lot of buzz as legendary actress Sigourney Weaver, known for her long career in Hollywood, has finally graced the West End stage in London for her much-awaited theater premiere.
What could possibly be a more suitable test for her than a science fiction rendition of Shakespeare’s final work, The Tempest?
The multi-talented actress from America is recognized for a wide array of distinct films, ranging from “Working Girl” to “Gorillas In The Mist” and “The Ice Storm.” However, among these, none have as lasting an impact or remain as vivid in our minds as her role in Ridley Scott’s “Alien” series.
In The Tempest, Weaver steps into the character of Prospero, traditionally portrayed by males but fittingly so for this production where Weaver’s character is a former female Duke of Milan who has been exiled and stranded on an island that resembles a distant planet. Here, in Jamie Lloyd’s contemporary adaptation, it seems as if this deserted island has transformed into a far-off world over which Prospero wields magical power.
Fortunately for the 75-year-old actress, Shakespeare avoids subjecting her to the terrors of battling a cosmic predator from another world.
A melancholic and thoughtful character seeking justice from those who seized her power, Weaver exudes her distinctive demeanor. The unchanged since the past fifty years, chestnut-hued bob (with a head shave for Alien 3 in 1992), and that gentle yet slightly disapproving grin reminiscent of a Reverend Mother.
Lloyd’s strategy of portraying her as a solitary figure seated on a stool, masterminding her retaliation with the aid of her spirit helper Ariel, also separates her from the rest of the characters. In essence, she becomes an observer rather than a participant, as her character is seldom challenged by other actors and her part predominantly involves narration.
In typical fashion, Lloyd’s production is overly reliant on microphones. This practice, seen after his Romeo and Juliet with Tom Holland, makes everyone seem like they are lip-syncing. Ironically, it causes some of Shakespeare’s most beautiful verses to be whispered instead of heard clearly.
Despite appearing ordinary at first glance, Soutra Gilmour’s stage setting is remarkably otherworldly – reminiscent of a Star Trek film studio from the 1960s during William Shatner’s era. It resembles a desolate, coal-black slag heap barely lit by distant stars. This minimalistic yet vast space serves as a canvas for a lighting designer’s imagination, offering surprising landscapes with towering fabrics that either billow like clouds or mimic the massive arcs of nearby moons.
In this setting, Mason Alexander Park portrays Prospero’s ethereal assistant Ariel, embodying magic in the guise of an aerial glam rock star adorned with a blonde wig, ruff, and corset. Meanwhile, Forbes Masson brings a mischievous edge to his role as Caliban, a resident from another world, who adds a touch of rebellion through explicit gestures while dressed in black S&M leather pants and wrestling boots.
If the intricacies of Prospero’s tale, where she teaches her past adversaries a lesson, get diminished in a condensed version of the story, the significant advantage lies in the captivating music composition by Ben and Max Ringham, along with Michael ‘Mikey J’ Asante. It evokes an ethereal feeling similar to Enya’s hauntingly beautiful vocal layers, tinged with a hint of Vangelis – both echoing the atmospheric soundtracks in Ridley Scott’s films.
Nevertheless, I would’ve preferred to witness Weaver showcasing a broader emotional spectrum beyond portraying solely an alpha female character observing in her narrative. It’s somewhat like leasing a classic Cadillac only to utilize it for routine errands instead of enjoying its full potential.
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2024-12-20 03:51