I am instinctively suspicious of stage
productions featuring computer-generated video, even simply as a
background display. All too often the “liveness” of the event suffers,
with the actual
acting
playing second fiddle to the FX. When the Royal Shakespeare Company
announced that the final production in the playwright’s 450th
anniversary season would not only feature this kind of design, but live
performance capture into the bargain, there seemed no end of things
that could misfire. Yes,
The Tempest
is the most magical of Shakespeare’s plays, but (
pace Arthur C. Clarke) technology
ain’t magic.
This time, however, it damn nearly is. Director Gregory Doran and
designer Stephen Brimson Lewis, working with Intel and actor Andy
Serkis’s Imaginarium Studios, have created a series of sumptuous
background images from naïve paintbox landscapes to slavering hounds of
hell, which complement the action rather than distracting from it. I
think the deep thrust stage of the Royal Shakespeare Theatre is crucial
in pulling this off, by allowing us to feel that the actors are almost
among us; I suspect that the surely inevitable London transfer,
necessarily on to a shallower stage, will lead to a disproportionate
flattening-out which may encourage the background to swallow the
performers. In the present arrangement, however, liveness is also
preserved by keeping actor Mark Quartley onstage as Ariel in his
motion-capture bodysuit, so that we hear his natural voice and see his
body’s movements directly as well as being mapped on to CGI footage of
him making the same moves in the form of a zephyr or a fearsome harpy.
But all the silicon in the world is still outshone by Simon Russell
Beale. This is not only the finest Prospero I have ever seen but –
which is really saying something – probably the finest performance from
SRB. He is unmatched at finding the ambivalence at the core of a
character, and here his intelligence as an actor melds perfectly with
the idea that Shakespeare, in his only original plot, was musing on
theatre itself. Prospero’s great speeches towards the end of the play
are invested by Russell Beale with a profound and equally balanced
appreciation at once of the wondrous potency of these visions and their
ultimate insufficiency in the face of... of life.
Not all of the supporting cast are flawless: the royal family of Naples
doesn’t boast many of the sharpest tools in the box, and Janny
Rainsford as Miranda takes a long time to control her voice from being
tremulous to the point of bleating. In contrast, Joe Dixon is a strong,
uncomplicated Caliban with a tremendously powerful final moment, and
those twin sons of fun Simon Trinder and Tony Jayawardena succeed
deliciously in making the clowning roles actually funny. But between
the computers and SRB, this is a dual-core, top-of-the-range,
futureproof bit of kit.
Written for the Financial
Times.