The Tempest

Published Wednesday 15 March 2006 at 15:50 by Barbara Lewis

One of the many great things about Shakespeare’s final play is that it’s robust enough to withstand wild liberties in interpretation.

The international Zecora Ura Theatre, directed by Gabriel Gawin, rewrites The Tempest for three energetic performers speaking four languages to convey the strangeness of Prospero’s kingdom and the darkness and light in all its characters.

The decision to transform dainty Ariel into a tomato helps to emphasise the primeval, rather than the ethereal, though it’s magic nonetheless.

What we gain is exuberant comedy, even if it verges on farce and the sub-plot looms too large.

Instead of the traditional demure virgin, Agnes Brekke’s spoilt brat Miranda is prone to tantrums and sexual advances on the relatively innocent Caliban and Ferdinand, both played by Unai Lopez de Armentia.

Jorge Lopes Ramos as Prospero in ripped tailcoat and home-made spectacles, is authentically dishevelled after years in exile.

Far from reluctant to remove the cloak of power, he seems happiest wearing a dress to double as Trinculetta.

Such is the concern we should distinguish him from the sub-plot’s other buffoons that they have their names written on them - the one crisis of confidence in a production that so refreshingly dares to assume we already know the story.