"We are such stuff as dreams are made on…” Falling into the dream-world of drama, I was pleasantly surprised by the theatre at Christ's. A lovely space with a warm welcome and effective stage structure that over-flowed over two levels onto additional blocks, occasionally leaking out into the audience as actors ran up and down the aisles, really inducing a sense of involvement in Shakespeare’s dream-world.

Given that the piece is such a well-known play of magic and dreams, lovers and strangers, prisoners and masters, and has the very fabric of life woven into it, The Tempest needs no introduction.  Yet, each rendition offers something new, and I anticipated what this performance of The Tempest would provide. Opening to live music was certainly a treat I had not expected. With a violinist, guitarist and pianist, an eerie atmosphere was evoked through melodic tones to accompany the terror of shipwreck and storm.  Music was used well throughout, offering additional sensory appeal, as action on stage and dialogue worked together with its tonal background.

The actors were outstanding and a high quality of acting was established in Caliban’s entry onto the stage. Fantastically portrayed by Sabian Phippen, Caliban’s character was captured with authenticity and imagination, appealing to the audience who cheered constantly at his phenomenal acting. Whether it was his savage creeping; his angry chanting of "Ban, Ban, Caliban," his hilarious drunken stupors, plots against Master Prospero, the role brought such entertainment and enjoyment to the play, really adding to the overall performance. Caliban’s interactions with the characters, Stefano and Trinculo, were also well directed and staged to good comic appeal. The light-hearted comedy of The Tempest really came through in their scenes and all three actors displayed great skill and versatility in their hilarious performances.

"Fantastically portrayed by Sabian Phippen, Caliban’s character was captured with authenticity and imagination, appealing to the audience who cheered constantly at his phenomenal acting"

The casting of Ferdinand, too, was interesting. Cast as a female, Ferdinand was well portrayed, and decision to swap the gender of the character was managed well. However, the reason was not apparent. After speaking to the director, who explained the process of casting gender-blind, I understood that the choice to have a female Ferdinand was due to suitability, skill of acting, and appropriateness of the individual to the role. I was a little confused as to why such an influential change had not been made for a specific purpose, nor to assert a message or to challenge stereotypical views, yet the play still held together and delivered the story well.

Setting was also altered, updated and cast upon a quirky ‘Isle’ of industry, the stage was set-up with pipes dangling, notices indicating engineering work, and scaffolding arranged to provide two levels to the stage. The use of two levels was very effective and enabled an additional layer of magic to be added as spirits occupied the upper level during the performance, whereas mortal characters remained on stage or on the extended blocks in front. However, the decision to add themes of modern industrialism did not appear to follow through.

"The use of two levels was very effective and enabled an additional layer of magic to be added as spirits occupied the upper level during the performance"

Costumes were very effectively organised, with make-up chosen and applied very well. Clothes for each of the mortal characters were well contrasted to the choice of those for natives of the island, portraying a clear differentiation between the two parties. Moreover, make-up was really effectively used to accentuate this difference. The use of metallic silvers and face paint for fairies or spirits emphasised the ethereal nature of their characters. The attention to detail in Caliban’s scabby appearance: missing teeth, widened and enlarged eyes, and grubby guise, was fantastic and added to the sense of savageness of not only his character, but also of the island as a place of wilderness and magic that has lost all sense of control.

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Overall, brilliantly directed with meticulous attention to detail, clear story-telling, enjoyable accompaniment of music and some phenomenal acting, CAD's rendition of The Tempest was a great success