It is appropriate that controversial artistic director Mark Rylance chose The Tempest for his final season at The Globe as it was probably Shakespeare's last theatrical work unassisted. Ambitiously, Rylance took inspiration from Jung's psychoanalytical reading of medieval alchemy for this version, and in his hands, the already illusory, magical and protean qualities of the island setting become a metaphor for the troubled Mage's psyche - a fascinating if demanding concept to extrapolate on stage.
      Apparently, the bookish exile Prospero, is out of touch with his earthy side and a psychological crisis ensues. This conflict manifests itself in the storm he conjours to shipwreck his enemies at the onset. It follows that the various individuals we then encounter are not just characters in the story, but arguably aspects of Prospero's warring unconscious!
       Master of Play, Tim Carroll, rose to Rylance's challenge with enthusiasm, we learn from the programme notes. He identifies the deposed Duke of Milan's slaves - the bestial Caliban and spiritual Ariel - as unintegrated extremes of his personality. With the trinity as his focal point, he directs the production accordingly. However, this brave new world of ideas has one problem - it is underpopulated. A lone triumverate of actors portray the entire cast!
      Alas, it is a shape-shift too far. Instead of being thought-provoking, too much of the staging's high concept is lost in its disorderly structure. Populist attempts at humour lack lightness of touch and occasionally descend into slapstick. More importantly, for all but the most learned in the audience, the dialogue (without the benefit of costume changes) is confusing and hard to follow - a victim of the paucity of actors available to project it.
      Happily, there are some highlights. Mark Rylance's moody, mercurial Prospero imbues his primary role with dignity; Alex Hassell plays a gracious Ferdinand and aspiring son-in-law; while Edward Hogg as the spirit Ariel, is possessed of a natural, unexpected gravitas as he goes about his tasks. Unfortunately, when the men assay other roles in varying combinations, they are less assured. Called upon to speak as his past nemesis, Alonso King of Naples, Rylance ends up talking to himself in the last scene. The comely Hassell also fails to impress as Caliban; and when Hogg, as Prospero's daughter Miranda, is wooed by Ferdinand, the comedic element takes over to an uncomfortable degree.
      Naturally, in the context of the masterfully recreated Globe, the play couldn't wish for more sympathetic surroundings and sensibly, props are kept to the minimum. A chessboard features imaginatively as a symbol for sorcery and enchantment; while a long rope suspended centre stage - used variously as a noose, swing, pulley and magical mirror - is over-utilised. Three female dancers haunt the action, representing objects, sprites, and ultimately - fates. Though talented, their jeans and leather ensembles strike a jarring note. Jenny Tiramani is far more sure-footed with her period menswear designs, bordered in hermetic designs. Six accomplished singers, robed like classical muses with golden head-dresses, perform from the gallery in the same ratio as the mortals beneath: as above so below. Music is an essential element of The Tempest and their contribution is one of the evening's more uplifting moments.
      For those with a healthy knowledge of the play, this production of The Tempest is a challenging, intellectual experiment which may engage. For the less literary, I suspect that it will take more than a few belly laughs to captivate hearts and minds.
Caroline Kellett Fraysse