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Kenneth Branagh is said to have played 35 Shakespearean roles, even earlier. To see him speaking in verse today is something of an event, especially as he returns to the Royal Shakespeare Company more than 30 years later to take on, for the first time, Shakespeare’s magician, deposed duke and dictator. Although the king came to it a few days ago.
Branagh’s Prospero initially pursues a fast and feverish streak King Learwhich was performed in the West End in 2023. He seems to be running in the part rather than in it, more serious, almost larky, rather than struggling. It is the show itself that creates its magic through its impressive visuals, sound effects and achievements. Richard Eyre, directing his first Shakespeare play at Stratford, does a wonderful job of bringing a lot of passion to the production.
He casts Prospero as the director of this island of sweet air and noise and he blows a storm from the music hall, directing the scene as the back screen opens to the beautiful view of the strong waves, the circular schedule, the sound of the drums, lightning and thunder creating the sound of the show, explosions and explosions of the wall. Prospero brings a storm that will bring back his usurper brother to him, to take revenge, but he is also speaking in a polished cabaret or circus, of which he is the master.
Everyone plays their part: Ariel (Amara Okereke) appears as a trapeze artist, floats in circles, enjoys her beautiful movements and music, and there is an incredible love between Prospero and Ariel. The scenes with Caliban (Ashley Zhangazha), Stephano (Guy Henry) and Trinculo (Keir Charles) as they plan to rebel, are watching the scene of the musical. It seems important that Caliban is not dangerous or ugly in any way but resembles a manufactured slave. He’s honest, honorable, he’s putting on a show but underneath he’s sad.
Sound and music are central, with the bongo drums providing a powerful and symbolic representation of the world Prospero ruled over whose voice was not heard. Shakespeare’s music sounds fresh here, with raps around Caliban and Prospero sometimes speaking in chorus. Bob Crowley’s design is also fun, almost Disney-like with its shiny, floating objects, drawing us in with its visual delights and smooth movement. The background art is crucial to realizing Prospero’s illusions and there is something magical about all the children.
Branagh’s voice is clear and simple, as ever, but not deep enough. He is important and round, a loving father as he walks on the side of the stage while his daughter Miranda (Ruby Stokes) talks to Ferdinand (Fred Woodley Evans), but far from the elder John Gielgud (in the film by Peter Greenaway). The style is simple but simple. So is the presentation of the production in the first half, to some extent, busy surprising us with its magic instead of mining the core of this very deep drama.
But as Branagh slows down again, the production begins to deepen, the shadows become clearer and you feel the emotion when Prospero declares that what happens is often better than revenge. Caliban is wordlessly transformed back into his rightful role as ruler of the island at the end and it gives strength to Prospero’s transformation. You feel the magician becoming human and human; abandoning tyranny is as freeing the oppressor as it is for the oppressed.
