Review: THE TEMPEST, Birmingham Royal Ballet, 4 October 2016

As the celebrations of the 400th anniversary of Shakespeare's death draw to a close, the Birmingham Royal Ballet presents an anticipated new creation from David Bintley. The Tempest has fascinated Bintley for over 20 years, and, after two decades of research and exploration, he finally presents his long-held Shakespearean dream after finding the right composer in Sally Beamish.

When the audience enter the Birmingham Hippodrome, they are instantly drawn into Prospero's island home, with sound effects conjuring the sea and a twinkling ship visible through a stunning, ocean-blue stage cloth. The production stays largely true to the Shakespearean original, opening with the eponymous tempest cast by the spirit Ariel.

The magician Prospero and his daughter watch from their island home, onto which they were cast away 12 years previously. Ariel's tempest maroons Prospero's brother Alonso, the King of Naples on the island, along with his son Ferdinand, brother Sebastian and Antonio, Duke of Milan. What follows is a story of revenge and betrayal, as Prospero punishes those who wronged him. Prospero's attitude is eventually changed by the love between Miranda and Ferdinand; he ends the cycle of hatred by forgiving his brother and blessing the marriage.

Rae Smith, known for War Horse and Bintley's Prince of the Pagodas, contributes beautiful stage and costume designs. Her trademark rich colours and graduated patterns transport the audience from the tumultuous stormy sea to the barren landscape of the island. Bruno Poet's lighting designs complement Smith's work, particularly during a gorgeous sunset which slowly deepens in hue as the first act of the ballet closes.

David Bintley has stated that one of the reasons The Tempest has been so long in its inception is his struggle to find the perfect composer. Sally Beamish's score does an excellent job of supporting the narrative, providing distinctive motifs for each character. Especially memorable moments include the ticking wood block that accompanies Caliban, and the comical sliding trombone for Trinculo, the court jester. Beamish's score feels very modern; the discordant trills build atmosphere for the swirling tempest and nightmares conjured by Prospero, but do get quite shrill after prolonged periods.

Bintley's choreography is full of expansive arm movements, clear mime and gesture, and fiendishly fast, dynamic sections for the corps. He is a master at building clear character and personality through movement, making the job of the dancers so much easier.

The Tempest fits the Birmingham Royal Ballet dancers like a glove, showing how well Bintley knows each individual. Mathias Dingman brings shades of Puck to the role of Ariel, with his customary dazzling pirouettes, effortless leaps and infectious joy. Iain Mackay is an imperious and powerful Prospero - one of the most expressive and well-communicated performances I have seen from this company.

In a ballet dominated by male characters, Jenna Roberts shines as Miranda, conveying her naivete and excitement through ecstatic little jumps and unconscious, easy grace. Other excellent solo performances come from James Barton's hilarious, staccato jumps as Trinculo, Lachlan Monaghan with soaring elevation as Neptune, and Celine Gittens as the elegant Ceres, goddess of the harvest.

There are, however, moments that feel very light on dance content. The pauses between scenes and the repeated tableaux are static and slow, especially in the second act. The Birmingham Royal Ballet boasts an extraordinary corps, and their skills are sadly not used to full effect.

Overall, David Bintley's The Tempest is a very good interpretation, with moments of brilliance. Shakespeare's narrative is a communicated exceptionally well through the choreography, with Beamish's score and intense strobe lighting creating moments of almost cinematic drama. With a little refinement and perhaps more appearances from the corps, The Tempest could grow into something truly magical.

Photo: Bill Cooper

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