Review: THE TEMPEST, RSC - May 2026
Photo credit: Johan Persson
We open to Kenneth Branagh’s Prospero calming himself before casting a spell. Moments later, thunder roars and waves crash against the stage, darkness swallowing the theatre as figures emerge through trap doors, representing the wreckage of a violent storm. The Royal Shakespeare Company seems to be entering a new era of theatrical star power, with recent seasons boasting names such as Branagh, Mark Gatiss and Helen Hunt alongside a wealth of established Shakespearean talent. Branagh’s return to Stratford feels particularly significant, marking his first appearance with the company in over 30 years. Having performed in more than thirty five Shakespeare productions throughout his career, he steps into the role of Prospero with the confidence and gravitas of someone deeply connected to the text. This production of The Tempest immediately draws us into a world of illusion, magic and isolation, yet beneath the spectacle lies a deeply human story of grief, control and forgiveness. From the opening moments, this island feels less like an enchanted paradise and more like a haunted memory, with some beautiful backdrops.
Banished from Milan and stranded on a remote island for years, Prospero has built a life through magic, manipulation and control alongside his daughter, Miranda. When a storm brings his old enemies to shore, he seizes the opportunity to confront those who betrayed him. What follows is a tale of revenge, power and forgiveness as spirits, shipwrecked nobles and young lovers become entangled in Prospero’s carefully orchestrated plans.
Branagh’s sorcerer’s cloak and wand occasionally bring to mind Mickey Mouse in Fantasia, though thankfully his Prospero is humorous and camp enough to pull this off. The scenes between him and his onstage daughter Miranda, played by the charismatic Ruby Stokes, are warm and full of playful humour, allowing moments of tenderness to breathe amongst the chaos of the production. The standout performance of the evening comes from Ariel, played by Amara Okereke, whose singing voice and physicality enchant the audience from the moment she quite literally flies onto the stage. Music and song carry much of the production, often grounding the audience whenever the script becomes particularly dense or overwhelming. Even director Richard Eyre has claimed that “no-one can boast a complete understanding of The Tempest”, which perhaps explains the constant use of striking imagery throughout. Tilting stages, moving screens and flying spirits guide the audience through the play’s more confusing moments whilst creating a world that feels suspended somewhere outside of reality. The costumes mirror this beautifully, blending the timeless with the weatherworn as though every character has been shaped by the island itself.
At its best, this production of The Tempest is an astonishing spectacle. The use of music and song elevates the material beautifully, helping to draw the audience into the strange and dreamlike world of the island whilst offering moments of real emotion and escapism. Visually, the production rarely stops moving, with flying spirits, shifting sets and dramatic lighting constantly giving the audience something to marvel at. Yet underneath all of this spectacle lies a story that perhaps is not one of Shakespeare’s strongest. Despite a running time of just over two hours including the interval, parts of the production still drag, particularly during some of the denser scenes of dialogue. However, the sheer ambition of the staging and the constant stream of visual tricks make this a surprisingly accessible Tempest, especially for audiences who may normally find Shakespeare intimidating.
*** Three stars
Reviewed by: Sophie Eaton