Swept away by a Tempest

This term’s imaginative and daring reimagination of The Tempest saw Shakespeare’s last, great play relocated to a technological scrapheap in the Pacific.


The Tempest is, famously, a play that sits uncomfortably within its ‘comedy’ genre: falsehood, betrayal, absolute power and impending death are woven into its fabric. Fittingly, the d’Overbroeck’s production (directed by Drama teacher Joe Swarbrick) accentuated the text’s unsettling ambivalence.


There were moments of huge dramatic impact – as harpies writhed and shrieked, and ships were torn apart in raging seas – but also times of quiet introspection.

Lydia Hassan dominated the play with an extraordinarily nuanced rendition of Prospera, veering from rage to exhultation to troubled introspection. The resulting performance was powerfully compelling – all the more remarkable when you consider the fact that this is a role typically wrestled with by professional actors as they near the end of their career.


Tal Fineman and Will Cronk’s treacherous plotting was suitably distasteful, Felicity Hughes’ Miranda and Joe Wolfensohn’s Ferdinand enacted a haltingly tender courtship, and a troupe of shimmering Ariels were in turn impish and cacophanous.


Meanwhile, the drunken ramblings of Stephano (Sam Rigal) and Trinculo (Daisy Jordan) were hilarious – offset by the disturbing presence of Sixth Former Emma Gonnella’s brilliantly played Caliban.


View a slideshow of photos from the performance:

– Words by Tom Parnell