Review: PERICLES, Swan Theatre, Stratford-Upon-Avon

"‘Tis time to fear when tyrants seems to kiss.” It’s true that most of Shakespeare’s most well-known works remain perpetually relevant, particularly in the difficult times that continue to afflict populations worldwide, but sometimes it’s worth shuffling the pack and pulling out a lesser played work. The thing with geniuses like Shakespeare is that their less popular output is often just as good as the stuff that everyone’s heard of. Enter Tamara Harvey and her production of Pericles, Prince of Tyre.

First published in 1609, it is believed to be the work of both Shakespeare and the writer and pamphleteer George Wilkins; the latter possibly contributing the first two acts (featuring most of Pericles’ adventures at sea), whilst the former focused on the narrative of Pericles and his daughter, Marina. This certainly chimes with the kind of themes that were prevalent in Shakespeare’s later plays, with grief and the separation of parent and child looming large.

It’s a complicated play to summarise, as Pericles finds himself in various different locations in quick succession, generally facing threats to his life - whether from a storm at sea or the murderous intents of a tyrannical ruler. Some stability comes when he finds himself in Pentapolis, where he meets and marries Thaisa, daughter of King Simonides. His decision to take to the sea and return to Tyre with his pregnant wife is one that will haunt him, however, as it induces a seemingly fatal early labour; Thaisa is placed in a chest and buried at sea, while Pericles takes their daughter (Marina) to be raised in Tarsus.

With press night taking place when threats of domestic terrorism threatened to overrun towns and cities across the country, the overriding message of hope at the centre of this play certainly heightened emotions. The almost soap opera-like levels of bad luck meted out on Pericles ultimately balances out with some extraordinary good fortune, and it’s quite an adventure for both audience and actors alike.

It could be a difficult play to follow, as well, however in the hands of Harvey’s direction and Kinnetia Isidore’s costume design, it couldn’t be more straightforward. Simple colour schemes denote the different nations in which Pericles finds himself (such as blue for Tyre, red for Pentapolis) - given that there is plenty of multi-roling as well, it’s an elegant solution to the problem.

Harvey’s direction is clear and precise; her decision to change the identity of the chorus subtly shifts the focus of the story, and creates more of a throughline for her production. At various points in the play, scenes overlap and play around one another - not only is this a canny way of maintaining the pace and flow, but it also ups the tension in these moments, highlighting the relationship between both scenes. Consequently, moments of pause and reflection have more of a devastating impact.

Alfred Enoch and Rachelle Diedericks are wondrous as Pericles and Marina. The series of unbelievable events that both characters face could leave audiences in a state of incredulity, but their performances (supported by an incredible company) override all of that. Their emotions at the denouement feel instinctive and honest, and even the hardest of hearts could not help but be moved by it.

This play may not be at the top of everyone’s Shakespeare bucket list, but with a production of this calibre on offer, now is the time to take a chance on it. Tamara Harvey’s vision for this play is nothing short of astounding - prepare yourself for a voyage of the mind and soul.

Pericles is at the Swan Theatre, Startford-Upon-Avon until 21 September

Photo credits: Johan Persson

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