Review: THE TEMPEST at the Theatre Royal Drury Lane

 

Date: 4th January 2025 

Seat: Balcony A20

Tickets: Paid for 

Stars: 3.5

When you hear that Sigourney Weaver is making her West End debut as Prospero in The Tempest, it’s impossible not to feel a buzz of excitement. Alien queen turned Shakespearean sorcerer? Sign me up. Throw in Jamie Lloyd’s signature sleek direction and a stage as grand as Drury Lane, and you’ve got a recipe for something unforgettable - or at least, that’s the hope. But while this production delivers moments of pure magic, it doesn’t always cast the spell you’re hoping for.

Let’s tackle the big one first: Sigourney Weaver. There’s no denying her star power - just her name on the poster makes you want to grab a ticket (it worked for me, anyway). But here’s the thing: her Prospero feels oddly distant. Weaver has a calm, almost understated presence, which works in moments of quiet introspection but leaves you wanting more fire in the belly during the play’s most intense scenes. Her delivery is measured and thoughtful, but there’s a sense of disconnect, as though she’s observing the action from the sidelines rather than steering it.

That said, there are glimmers of brilliance in her performance. Her moments with Mason Alexander Park’s Ariel - where power and affection blur - are tender and beautifully played. But for a character as commanding and complex as Prospero, you can’t help but feel like something is missing. There’s restraint where you long for rage, and stillness where you crave dynamism.

While Weaver’s Prospero might not steal the show, Mason Alexander Park’s Ariel is a standout. Ethereal, captivating, and armed with a voice that could enchant anyone within earshot, Park brings an otherworldly quality to the role that’s utterly mesmerizing. Their movements are fluid and deliberate, and their dynamic with Weaver adds much-needed spark to the production.

Unfortunately, some of the other performances don’t quite hit the mark. Ferdinand and Miranda, usually the emotional heart of the story, feel a bit flat. Their chemistry doesn’t quite ignite, leaving their subplot lacking the romantic charm it needs. And Caliban, while visually striking, feels underused - his rage and poetry subdued in a way that misses the raw energy the role demands.

If there’s one thing Jamie Lloyd can always deliver, it’s a visual spectacle, and The Tempest is no exception. The opening storm scene is breathtaking - waves crash, lights flicker, and you’re plunged headfirst into the chaos of the shipwreck. Soutra Gilmour’s set design is striking in its simplicity, with the island shifting between barren isolation and shimmering enchantment. It’s minimalist, yes, but it works - at least most of the time. 

The lighting by Jon Clark deserves a mention, too - it’s practically a character in its own right. The way it shifts from harsh, stormy brilliance to soft, golden hues as the story unfolds is nothing short of magical.

Jamie Lloyd’s take on The Tempest leans into the play’s themes of power and forgiveness, stripping back some of the pageantry to focus on the human (and supernatural) relationships at its core. It’s a bold choice, and in many ways, it pays off. The scenes between Prospero and Ariel are deeply moving, and the final moments, where Prospero’s power fades into something more fragile, are beautifully staged.

But the emotional punch that should come with The Tempest isn’t always there. Key moments, like Ferdinand and Alonso’s reconciliation, feel rushed or underplayed, and the production’s minimalist aesthetic, while striking, sometimes leaves the stage feeling a little too empty. It’s as though the play is teetering on the edge of greatness but never quite takes the leap.

The Tempest at Theatre Royal Drury Lane is a mixed bag. There’s plenty to admire - Sigourney Weaver’s quiet gravitas, Mason Alexander Park’s spellbinding Ariel, and Jamie Lloyd’s slick, modern vision. But it doesn’t always come together in the way you’d hope. The emotional core of the play feels a little muted, and for all its visual brilliance, it sometimes lacks the raw energy and urgency that makes The Tempest one of Shakespeare’s most powerful works.

If you’re a fan of Weaver or Lloyd’s style, it’s worth seeing for the moments of magic it delivers. But if you’re looking for a Tempest that sweeps you off your feet and leaves you breathless, this one might leave you wanting just a little bit more.

Rating: 3.5/5
Visually stunning with moments of brilliance, but a storm that doesn’t quite reach full force.

Tickets are available here: https://lwtheatres.co.uk/whats-on/the-tempest-sigourney-weaver/

There's a lottery for £30 tickets, discounted tickets for under 30s and key workers, and TodayTix is also offering rush tickets.