Magic, mischief and melancholy in a stormy Shakespeare play: a review of The Tempest by HAODS at Barns Green Village Hall

No, it’s not A Midsummer Night’s Dream. HAODS did that one – very well I might add – back in 2016.

This is The Tempest, which is an equally suitable Shakespeare play for hot weather thanks to its Mediterranean island setting.

But, I have to admit, this is probably the Shakespeare play I know the least about. I studied much of the Bard’s work in high school, sixth form and even university, but I can’t remember ever getting around to this one.

So going into the comfortable surroundings of Barns Green Village Hall – where Horsham Amateur Operatic and Dramatic Society are performing this show until Saturday, May 30 – I was a bit anxious as to whether I’d follow what was going on.

After all, this ‘late play’ has a rather strange tone, blending elements that feel romantic, funny, sad and quite often scary. Add all of this onto the various complex characters who all have their own schemes, outlooks and desires – plus that poetic 17th century dialogue – and this show could have been a perfect storm of confusion for me.

But I’m happy to say this was not the case when I saw this fantastically accessible adaptation on Wednesday evening (May 27).

These Horsham players really throw themselves into whatever show they take on and their expressive delivery of Shakespeare’s material makes it easy to enjoy and understand.

The play begins with the King of Naples, some nobles (and some not-so-nobles) getting stranded on an island following a storm. This tempest has been conjured by the sorcerer Prospero with help from his spirit companion Ariel. Everyone survives it but they find themselves scattered around the island in separate groups. Prospero then reveals to his daughter Miranda that he is the exiled former Duke of Milan who escaped to the island after his treacherous sister Antonia deposed him in a coup. Now, he has brought his enemies to his remote home and it remains to be seen what he has in store for them...

The show starts very strongly with the storm and shipwreck, represented through dance choreography, eerie blue lighting and some stirring music composed by this show’s Prospero Andrew Donovan. It’s an effective way of depicting such a catastrophe on the small stage.

Director Yvonne Chadwell continues to make intelligent choices like this throughout the production. A later sequence involving a shrieking harpy, for example, is a real stand-out moment. It’s spectacularly delivered through the use of a glittering costume and strategic crimson lights on an otherwise dark stage. Other techniques like glow-in-the-dark paint (I think), lanterns, mysterious noises and music are deployed effectively elsewhere in this show.

But it can’t all be special effects and classy costumes to bring The Tempest to life. Shakespeare was a master of the English language and his words have to be delivered properly and confidently for an adaptation to work.

It’s a real challenge but the HAODS crew rise admirably to meet it.

Roz Hall is wonderful as Ariel, combining her dance, singing and acting skills to show her character’s lively and ethereal nature.

Andrew Donovan is a great Prospero and has a real feel for the rhythms of Shakespeare’s writing. He combines this verbal dexterity with a nuanced performance to capture all of Prospero’s anger and sorrow, as well as his fatherly love for his daughter.

Becca Bracewell is delightful as Miranda, conveying child-like wonder at the situations she finds herself in. But she also expresses the girl’s more mature feelings of moral indignation and romantic love, and delivers the dialogue in a naturalistic way that feels right for a teenage character.

Ferdinand, the object of her affection, is played by the likeable George Long, who presents a somewhat shy but charming Prince of Naples. His measured, sensitive delivery of the language feels appropriate for an earnest young man who, perhaps, is a little naive.

Mazen Khan injects some suitably bizarre energy into his portrayal of the island creature Caliban, who is sometimes grotesque and hateful, but at other times sympathetic and even quite funny.

James Douglas does well as King Alonso, giving his character an understated sense of melancholy over the apparent loss of his son.

Matilda Verbeeten gives her Antonia a nice ruthless edge, implying something scheming just beneath the surface of her pleasant demeanor. Dawn Wylie echoes this callousness and complements her well as Sebastiana.

Anne-Marie Romaine is fun in a fake beard as the good natured intellectual Gonzalo, clearly not cut out for the island’s wild environment, but a relentlessly optimistic and thoughtful presence nevertheless.

Mollie Ehrman is good too as Francisco, trying and failing to be a soothing presence to the worried King.

Paul Milwright and Heather Swoffer are clearly having a whale of a time as the mariners, using their dynamic performances in the opening act to get across the sheer ferocity of the storm.

Also having a great time are Susan Tyrrell as the King’s jester Trinculo and Tom Hounsham as the butler Stephano. They get the broadest comedy in the play, boozing it up with Caliban, stumbling about, singing shanties and dressing up like idiots. Tyrrell’s physical performance is particularly good. The way she shuffles about the stage, cocks an eye and talks to her staff all suggests a character who does not view the world in a normal way. Hounsham, from the moment he appears, portrays Stephano as a coarse, cavorting dimwit. But one with an appealing lust for life that makes him endearing even when he’s indulging in delusions of grandeur.

So, The Tempest by HAODS is a thumbs-up from me. It’s something a bit different and a bit cultured, but not pretentious at all. It’s an enjoyable and enchanting summer show, featuring a collection of colourful characters, and it delivers an uplifting and life-affirming message.

Tickets are available at www.tickettailor.com/events/haods/2005746.