REVIEW
Southend Shakespeare Company presents
THE TEMPEST
by William Shakespeare
Dixon Studio
Palace Theatre
Westcliff on Sea
26-30th November 2024
Southend Shakespeare Company presents
THE TEMPEST
by William Shakespeare
Dixon Studio
Palace Theatre
Westcliff on Sea
26-30th November 2024
First, a disclaimer: despite having performed many times in numerous Shakespeare plays myself, this is the first time I’ve ever reviewed one. And, I confess that The Tempest is one that I’ve neither performed in nor seen performed, until now.
Understanding Shakespeare’s prose has often been a reason that audiences have been put off seeing his works being performed but, if the play is put into the right hands and the language played with intelligently and stays respectfully true to its intention, then the words of Shakespeare have the immense power to excite, stimulate and open up ones mind to a whole new world. Co-directors, Marius Clements and Michael Clements, assisted by Gillian Bates have done just this.
Prospero used to be the Duke of Milan until his brother, Antonio, took the position from him, whereupon Prospero fled taking his magic books escaping to a far away island. Seeing an opportunity to seek revenge on Antonio, Prospero uses his magic with the help of his spirit, Ariel, to conjure up a shipwreck.
The Tempest is a play full of magic, revenge, and eventually forgiveness which begins with the shipwreck. The ship's inhabitants include Alonso, the King of Naples, Antonio, the Duke of Milan, Gonzalo, Sebastian and Francisco. Everyone survives the wreckage and ends up on the remote island where Prospero lives with his daughter, Miranda, their slave Caliban, a monstrous looking half human half fish type creature, and Ariel, a magical spirit, who can only be seen by her master.
With minimalist yet effective staging and sound effects, SSC's play begins with the 'tempest' of the title, and everyone onboard ship oddly, rather than panicking, stands stalwart and, as is a sailors’ wont, sings a shanty to get them through their plight. Despite the fabulous sounding harmonies this doesn’t do the trick and they find themselves shipwrecked and washed ashore. However, something isn’t quite right. Their clothing is as fresh as when it was first worn and thus the mystery begins.
Meanwhile, we are introduced to Prospero (Shaka Bunsie) and his young daughter Miranda (Briony Evans) and it’s not long before the shipwrecked Ferdinand (Tom McCarthy), thinking he is the sole survivor, stumbles his way into their neck of the woods..sorry, island. The only humans poor Miranda has ever seen are her father and Caliban, and so inevitably she instantly falls for Ferdinand, not knowing that he is in fact a prince and the son of the King of Naples.
Having used her magic to manipulate pretty much everything that’s going on and aiding Prospero’s desire for revenge on his shipwrecked brother, Ariel feels like her time in Prospero’s service should be up by now and is a tad resentful and sulky, but he just needs her just one more time to fulfil his revenge plan and then he promises that he will liberate her which perks her up enough to go and be mischievous around the shipwrecked courtiers.
This SSC production is a testament to their commitment of bringing accessible Shakespeare to Southend audiences. The company have put out a strong cast with some solid performances all round.
Shaka Bunsie as the powerful and enigmatic sorcerer does a fine job as Prospero, and Megan Goodger as the mischievous and ethereal spirit, Ariel, certainly doesn’t disappoint; not only is she delightfully watchable as a performer, she also has the most enchanting singing voice.
In fact, there’s quite a bit of song in this production. Sally Lightfoot, Julie Carter and Elena Clements as the three Goddesses, Juno, Ceres and Iris, adorning the most stunning costumes, make the hairs stand on end with their hauntingly atmospheric vocals as they sing for the newly wedded Ferdinand and Miranda.
There’s a fair few other moments where song is added to the script which some may disapprove of. Is it really warranted? Maybe not. Do they sound amazing? Abso-flippin-lutely yes! Regardless of one's views, these additions are visually and audibly entertaining and very enjoyable for the most part plus kudos to the sound design talents of Parker-Jace Martin who has done a magnificent job in giving each chanteuse that haunting echo that resonates throughout the auditorium. I don’t know if the all songs are original or not but they are all beautifully sung. Peter Bailey is also a great asset playing the guitar and leading the shanties.
The use of lighting is also impressive from Richard Foster, and along with the excellent sound helps to create a truly immersive theatrical experience.
In a kind of sub plot, and providing the long awaited comedy relief, we have the drunken butler Stephano and the bumbling jester Trinculo, the tipsy stowaways, who blunder across Caliban. Caliban realises that if he makes Stephano his new master, they can bump off Prospero and he will be free. James Carter and Andrew Sugden both have the comedy bones to expertly pull off these roles and it’s probably the first opportunity for the audience to have a good giggle.
The role of Caliban is magnificently portrayed by Alex Severne who completely immerses himself into this monstrous looking character physically and emotionally. With his face and half of his body covered in scales, a huge nod must go to whoever created this look and costume for the role.
The biggest praise of the evening though must be heaped on to the Costume and Props Department headed by Madeleine Ayres. These costumes are worthy of a West End show and wouldn’t be out of place in any professional production. They look stunning and I cannot imagine how much time and effort must have gone in to creating them to adorn each character so perfectly.
This production of The Tempest is a must see for any Shakespeare enthusiast. It perhaps lacked a little pace on opening night, more so in Act 2, but this, I am certain, will pick up as the week progresses. Southend Shakespeare Company have produced a refreshing and engaging interpretation of this timeless classic which would also be a perfect introduction to anyone yet to see any of Shakespeare’s plays.
If you missed the chance to grab a ticket for this sold out run, be sure to catch it when it returns due to popular demand to the Dixon Studio at the end of January 2025, although perhaps by then SSC may want to chuck in a few more tunes and change the title to Tempest - the Musical?
Review: Kim Tobin
Understanding Shakespeare’s prose has often been a reason that audiences have been put off seeing his works being performed but, if the play is put into the right hands and the language played with intelligently and stays respectfully true to its intention, then the words of Shakespeare have the immense power to excite, stimulate and open up ones mind to a whole new world. Co-directors, Marius Clements and Michael Clements, assisted by Gillian Bates have done just this.
Prospero used to be the Duke of Milan until his brother, Antonio, took the position from him, whereupon Prospero fled taking his magic books escaping to a far away island. Seeing an opportunity to seek revenge on Antonio, Prospero uses his magic with the help of his spirit, Ariel, to conjure up a shipwreck.
The Tempest is a play full of magic, revenge, and eventually forgiveness which begins with the shipwreck. The ship's inhabitants include Alonso, the King of Naples, Antonio, the Duke of Milan, Gonzalo, Sebastian and Francisco. Everyone survives the wreckage and ends up on the remote island where Prospero lives with his daughter, Miranda, their slave Caliban, a monstrous looking half human half fish type creature, and Ariel, a magical spirit, who can only be seen by her master.
With minimalist yet effective staging and sound effects, SSC's play begins with the 'tempest' of the title, and everyone onboard ship oddly, rather than panicking, stands stalwart and, as is a sailors’ wont, sings a shanty to get them through their plight. Despite the fabulous sounding harmonies this doesn’t do the trick and they find themselves shipwrecked and washed ashore. However, something isn’t quite right. Their clothing is as fresh as when it was first worn and thus the mystery begins.
Meanwhile, we are introduced to Prospero (Shaka Bunsie) and his young daughter Miranda (Briony Evans) and it’s not long before the shipwrecked Ferdinand (Tom McCarthy), thinking he is the sole survivor, stumbles his way into their neck of the woods..sorry, island. The only humans poor Miranda has ever seen are her father and Caliban, and so inevitably she instantly falls for Ferdinand, not knowing that he is in fact a prince and the son of the King of Naples.
Having used her magic to manipulate pretty much everything that’s going on and aiding Prospero’s desire for revenge on his shipwrecked brother, Ariel feels like her time in Prospero’s service should be up by now and is a tad resentful and sulky, but he just needs her just one more time to fulfil his revenge plan and then he promises that he will liberate her which perks her up enough to go and be mischievous around the shipwrecked courtiers.
This SSC production is a testament to their commitment of bringing accessible Shakespeare to Southend audiences. The company have put out a strong cast with some solid performances all round.
Shaka Bunsie as the powerful and enigmatic sorcerer does a fine job as Prospero, and Megan Goodger as the mischievous and ethereal spirit, Ariel, certainly doesn’t disappoint; not only is she delightfully watchable as a performer, she also has the most enchanting singing voice.
In fact, there’s quite a bit of song in this production. Sally Lightfoot, Julie Carter and Elena Clements as the three Goddesses, Juno, Ceres and Iris, adorning the most stunning costumes, make the hairs stand on end with their hauntingly atmospheric vocals as they sing for the newly wedded Ferdinand and Miranda.
There’s a fair few other moments where song is added to the script which some may disapprove of. Is it really warranted? Maybe not. Do they sound amazing? Abso-flippin-lutely yes! Regardless of one's views, these additions are visually and audibly entertaining and very enjoyable for the most part plus kudos to the sound design talents of Parker-Jace Martin who has done a magnificent job in giving each chanteuse that haunting echo that resonates throughout the auditorium. I don’t know if the all songs are original or not but they are all beautifully sung. Peter Bailey is also a great asset playing the guitar and leading the shanties.
The use of lighting is also impressive from Richard Foster, and along with the excellent sound helps to create a truly immersive theatrical experience.
In a kind of sub plot, and providing the long awaited comedy relief, we have the drunken butler Stephano and the bumbling jester Trinculo, the tipsy stowaways, who blunder across Caliban. Caliban realises that if he makes Stephano his new master, they can bump off Prospero and he will be free. James Carter and Andrew Sugden both have the comedy bones to expertly pull off these roles and it’s probably the first opportunity for the audience to have a good giggle.
The role of Caliban is magnificently portrayed by Alex Severne who completely immerses himself into this monstrous looking character physically and emotionally. With his face and half of his body covered in scales, a huge nod must go to whoever created this look and costume for the role.
The biggest praise of the evening though must be heaped on to the Costume and Props Department headed by Madeleine Ayres. These costumes are worthy of a West End show and wouldn’t be out of place in any professional production. They look stunning and I cannot imagine how much time and effort must have gone in to creating them to adorn each character so perfectly.
This production of The Tempest is a must see for any Shakespeare enthusiast. It perhaps lacked a little pace on opening night, more so in Act 2, but this, I am certain, will pick up as the week progresses. Southend Shakespeare Company have produced a refreshing and engaging interpretation of this timeless classic which would also be a perfect introduction to anyone yet to see any of Shakespeare’s plays.
If you missed the chance to grab a ticket for this sold out run, be sure to catch it when it returns due to popular demand to the Dixon Studio at the end of January 2025, although perhaps by then SSC may want to chuck in a few more tunes and change the title to Tempest - the Musical?
Review: Kim Tobin
Experience the adventure of William Shakespeare's final masterpiece, The Tempest!
Join SSC for a mesmerizing journey through magic, betrayal, and redemption on a mysterious island where nothing is as it seems. Dive into Prospero's world in this timeless tale of intrigue and wonder, marking the legendary playwright's poignant farewell to the stage.
For more information about the SSC visit their website at:
southendshakespeare.org.uk
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Join SSC for a mesmerizing journey through magic, betrayal, and redemption on a mysterious island where nothing is as it seems. Dive into Prospero's world in this timeless tale of intrigue and wonder, marking the legendary playwright's poignant farewell to the stage.
For more information about the SSC visit their website at:
southendshakespeare.org.uk
MEET THE CAST
Shaka Bunsie, 49, from Chelmsford plays the role of Prospero
When did you start to take an interest in theatre? Did you take part in any productions at school?
I first discovered my love for theatre at the age of 13 at secondary school. We were doing a production of Grease.
Are or were any members of your immediate family involved in drama?
Not at all.
Have you done any sort of formal training for acting/singing/dancing?
I attended the Guildhall School of Music and Drama from 1995 - 1998
Do you have any specialist skills – anything from stilt walking to dress-making – which you work into your repertoire?
Lol. No additional skills – though I think myself a brilliant dancer. But both my daughter and my partner think differently…
Which experience/role do you regard as the highlight of your amdram career to date?
I would say that playing the role of Prospero is very quickly becoming the highlight of my acting career whether that be professional or amdram
What has been your most embarrassing moment involving drama, on or off stage?
My most embarrassing drama movements have always been in auditions. Many years ago whilst working professionally you were faced with advert auditions and their matching absurd requests. I have been asked to be a chip roasting in an oven, a piece of chewing gum stuck to the floor – the list is very long!!
How do you earn your living?
I am a Curriculum Manager for Maths and English at Westminster Kingsway College, based at their campuses in Victoria and Soho.
Following on from the previous question, has your theatre career ever been useful in your day job, and/or have you ever drawn on your day job for any of your stage activities?
I have utilised all the skills linked to communication that I have learned and developed as an actor. This has included posture and physicality (appearing confident in front of an audience), diction (speaking clearly) and projection (being heard).
Are your friends mostly involved in theatre - perhaps even working with you on a regular basis - or do you socialise across a wider circle?
I have a wide circle of friends from different walks of life. I think it is important. If you wish to portray life realistically in imagined circumstances then you must have a life full of realistic adventures off stage.
Which actor do you most admire and why?
That is a hard one…as I admire so many. So I will give two: Lawrence Olivier – for his realistic approach to Shakespeare. Marlon Brando for his realistic psychoanalytic approach to acting.
What role would you most like to play and why?
Of late I am obsessed with Shakespeare’s characters. I’d always like the chance to play Titus Andronicus. I am a horror fan and love the grotesque nature of this play. And then there is the beast of a role that is Othello…
Ever corpsed on stage? What happened?
Many times…lol. The last time was in rehearsal of Act 5 Scene 1. Near the end Prospero confronts Caliban and calls him several derogatory names. One of them I said directly to the actor and we both fell out of character and began to giggle and then outright laugh.
Tell us a bit about your role in “The Tempest”.
Twelve years ago Prospero used to be the Duke of Milan but his brother Antonio, with the help of Alonso, the King of Naples plotted to overthrow him. Instead of killing him they cast Prospero out to sea in a boat with his three-year-old daughter Miranda - with the hope that they would die at sea. But Prospero and Miranda land on a magical island which they make their home.
By accident (or Fate) Antonio (his brother) and Alonso (King of Naples) sail past this very island and Prospero uses magic to cause a storm and have them shipwrecked on the island.
He uses these magical powers to cause suffering to his enemies and manipulate Miranda (Prospero's daughter) and Ferdinand (the King of Naples' son) into marriage. All of this is enacted with good intentions, but the effect is still the suffering of others. Magic or no magic, he is quite prepared to hurt others as revenge for how he has been treated in the past.
However, ultimately, Prospero is compassionate: and he understands that the ability to forgive and to be merciful is the virtuous and therefore right action to take.
Any plans for the future, after "The Tempest”?
Not now as we then enter the madness end of year madness that is Xmas.
Any tricks for remembering your lines or other useful tips to pass on to others involved in drama?
Indeed. Little and often - even if it is just a line or a word learn them in small chunks. And I see learning line as research. So, I look at my lines every day and read the scenes I am in every day. That way I am not trying to remember the words abstractly - but linking them to my objectives, the obstacles and the actions taken. Bit of Stanislavski there… 😊
I first discovered my love for theatre at the age of 13 at secondary school. We were doing a production of Grease.
Are or were any members of your immediate family involved in drama?
Not at all.
Have you done any sort of formal training for acting/singing/dancing?
I attended the Guildhall School of Music and Drama from 1995 - 1998
Do you have any specialist skills – anything from stilt walking to dress-making – which you work into your repertoire?
Lol. No additional skills – though I think myself a brilliant dancer. But both my daughter and my partner think differently…
Which experience/role do you regard as the highlight of your amdram career to date?
I would say that playing the role of Prospero is very quickly becoming the highlight of my acting career whether that be professional or amdram
What has been your most embarrassing moment involving drama, on or off stage?
My most embarrassing drama movements have always been in auditions. Many years ago whilst working professionally you were faced with advert auditions and their matching absurd requests. I have been asked to be a chip roasting in an oven, a piece of chewing gum stuck to the floor – the list is very long!!
How do you earn your living?
I am a Curriculum Manager for Maths and English at Westminster Kingsway College, based at their campuses in Victoria and Soho.
Following on from the previous question, has your theatre career ever been useful in your day job, and/or have you ever drawn on your day job for any of your stage activities?
I have utilised all the skills linked to communication that I have learned and developed as an actor. This has included posture and physicality (appearing confident in front of an audience), diction (speaking clearly) and projection (being heard).
Are your friends mostly involved in theatre - perhaps even working with you on a regular basis - or do you socialise across a wider circle?
I have a wide circle of friends from different walks of life. I think it is important. If you wish to portray life realistically in imagined circumstances then you must have a life full of realistic adventures off stage.
Which actor do you most admire and why?
That is a hard one…as I admire so many. So I will give two: Lawrence Olivier – for his realistic approach to Shakespeare. Marlon Brando for his realistic psychoanalytic approach to acting.
What role would you most like to play and why?
Of late I am obsessed with Shakespeare’s characters. I’d always like the chance to play Titus Andronicus. I am a horror fan and love the grotesque nature of this play. And then there is the beast of a role that is Othello…
Ever corpsed on stage? What happened?
Many times…lol. The last time was in rehearsal of Act 5 Scene 1. Near the end Prospero confronts Caliban and calls him several derogatory names. One of them I said directly to the actor and we both fell out of character and began to giggle and then outright laugh.
Tell us a bit about your role in “The Tempest”.
Twelve years ago Prospero used to be the Duke of Milan but his brother Antonio, with the help of Alonso, the King of Naples plotted to overthrow him. Instead of killing him they cast Prospero out to sea in a boat with his three-year-old daughter Miranda - with the hope that they would die at sea. But Prospero and Miranda land on a magical island which they make their home.
By accident (or Fate) Antonio (his brother) and Alonso (King of Naples) sail past this very island and Prospero uses magic to cause a storm and have them shipwrecked on the island.
He uses these magical powers to cause suffering to his enemies and manipulate Miranda (Prospero's daughter) and Ferdinand (the King of Naples' son) into marriage. All of this is enacted with good intentions, but the effect is still the suffering of others. Magic or no magic, he is quite prepared to hurt others as revenge for how he has been treated in the past.
However, ultimately, Prospero is compassionate: and he understands that the ability to forgive and to be merciful is the virtuous and therefore right action to take.
Any plans for the future, after "The Tempest”?
Not now as we then enter the madness end of year madness that is Xmas.
Any tricks for remembering your lines or other useful tips to pass on to others involved in drama?
Indeed. Little and often - even if it is just a line or a word learn them in small chunks. And I see learning line as research. So, I look at my lines every day and read the scenes I am in every day. That way I am not trying to remember the words abstractly - but linking them to my objectives, the obstacles and the actions taken. Bit of Stanislavski there… 😊
Below: Shaka in rehearsal
