Review: The Tempest | Jamie Lloyd's weird West End vehicle for Sigourney Weaver fails to blow me away
Updated: Mar 19
Book by William Shakespeare | Directed & produced by Jamie Lloyd
Theatre Royal Drury Lane | 24 January 2025
production photos: Marc Brenner
Jamie Lloyd's The Tempest review, London 2025 ⭐⭐
Film legend Sigourney Weaver makes her West End debut in Jamie Lloyd's re-working of The Tempest at a theatre that has a long-standing history with Shakespeare's work, the Theatre Royal, Drury Lane. But while many flock to see the Hollywood icon live on stage, and I too am thrilled to be so close to one of my film heroes, ultimately, I'm left cold and confused by what I've just watched.
At this point in a review I'd normally lay out a brief description of the plot of the play. But I'm afraid I'm at a loss here. I have no idea what The Tempest was about, and only a slim understanding of who any of the characters were or what their motivations were.
You may surmise then that I'm not clever enough to understand Shakespeare, but I promise you I have seen plenty of Shakespeare and other plays where I have been unfamiliar with the material beforehand, but through the magic of live theatre and adept, clear storytelling, i've been able to follow along and enjoy them just fine.
I will honestly admit that I could not follow Jamie Lloyd's interpretation of Shakespeare's The Tempest.
The staging for The Tempest is stunning. The stage opens to reveal a vast, turbulent storm. The massive stage at Drury Lane seems to have more depth and volume than physically possible. Billowing silks and soaring dunes in muted colours are reminiscent of Dune and many other sci-fi epcis. I almost imagined that I could feel a cold wind on my face and hear the pelting rain. Lloyd and set designer Soutra Gilmour have created powerful, striking visuals. I was enthralled by the first few minutes of this play thanks to the awe-inspiring staging alone.
Weaver's Prospero arrives and sits on a stool centre stage. And there she remains for much of the performance. Even when not the central focus of the play, Weaver sits on her stool at the back of the stage observing the other actors. It's odd.
On one hand, I understand that Weaver is now an unbelievable 75 years old and we want our superstars to be comfortable on stage. Perhaps that explains the stool. But could she perhaps be permitted to go to her dressing room when Prospero is not in the script? Why does she need to watch the class like a school teacher at detention?
Perhaps it's to ensure that the audience feel like they've had their money's worth in terms of Sigourney Weaver stage-time; tickets for this production are eye-wateringly high.
Either way, Weaver sits on the stool and delivers her lines. The whole play lacks movement for me and with the impassive delivery of the dialogue, I'm sorry to say, it becomes boring.
Weaver also sounds likes she speaks with a lisp in this production. As far as I'm aware, she does not, and so there must be some kind of mic or sound issue contributing to that effect - but just with Weaver. Again, it's odd.
The supporting company for the Tempest is full of incredible, seasoned, Shakespearean actors. The quality of the cast is superb. Amongst them, and a welcome surprise, Gavin and Stacey's Mathew Horne seriously impresses with his energetic and hilarious Trinculo.
Forbes Masson is unrecognisable as barely human slave Caliban. Masson throws himself into the role and he is, as always, superb. Clad in a black nappy, he spends much of his time lying flat in the mud on the floor. For those of us in the front centre stalls, it was difficult to see all of his efforts given the angle and height of the stage.
I'd highly recommend you sit upstairs if able for this one; you'd fair much better looking down on the action on the stage floor. My view of Horne and Masson was blocked for much of the time from my premium, front centre stalls seat. These seats would be excellent for any other production, but Lloyd's obsession with having actors sit or lie down for long periods in the Tempest became frustrating after a time.
One of the highlights of the Tempest for me was Mason Alexander Park's Ariel. Spending much of their time on wires above the stage, Park's supernatural Ariel brought the drama, interest and intrigue I was looking for. Their singing voice is exceptional, and every moment Ariel was on stage (or above it) was thrilling.
Mason Alexander Park has superstar energy and it's easy to see why they're so in demand. Jamie Lloyd has wisely cast park in his next production at Drury Lane: Much Ado About Nothing.
As someone who adores going to the theatre, I really tried hard to like The Tempest. I loved the experience - going to the Theatre Royal Drury Lane is always a treat - and the atmosphere, the staging and the talents of the company are undeniably good.
I don't think it's a bad production; the production values, visuals and costumes are top-notch. But Jamie Lloyd's The Tempest will perhaps fare better with audience members who are very familiar with Shakespeare's original plot and characters beforehand.
However, I am someone who believes that theatre should be accessible to all, and despite all the positive notes I've mentioned, I'm not a fan of the direction here. The story and Jamie Lloyd's intention with it was completely lost to me. Judging by the fact that a good number of the audience did not return for Act II of The Tempest, I'm sadly not alone. ⭐⭐
📅 The Tempest plays at Theatre Royal, Drury Lane for eight weeks only, from 7 December 2024 to 1st February 2025.
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Lloyd's new production, Much Ado About Nothing, starring Tom Hiddleston and Hayley Atwell, then takes up residence at Drury Lane for a limited run from 10 February to 5 April 2025.
Jamie Lloyd's The Tempest, London cast
Sigourney Weaver Prospero
Jude Akuwudike Alonso
Jason Barnett Stephano
Selina Cadell Gonzalo
Mathew Horne Trinculo
Mara Huf Miranda
Forbes Masson Caiban
Mason Alexander Park Ariel
James Phoon Ferdinand
Oliver Ryan Sebastian
Tim Steed Antonio
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