Dominic Dromgoole says goodbye to the Globe with the play usually considered Shakespeare’s farewell to the stage. He directs The Tempest in the space that is the most striking achievement of his artistic directorship. The Sam Wanamaker Playhouse was loved as soon as it opened. For its warm wood, its precise acoustic, its painted ceilings. Above all, for the glow shed by its candles. It would be easy to say that the Wanamaker brings intimacy to the Globe. That’s not quite right. For all its openness and roistering, the Globe has always been capable of landing a whisper, of drawing an audience into tenderness. What the more obviously murmuring space of the Wanamaker enables is weirdness. As the panels slide shut at the back of the auditorium, you might be in a secret compartment. Or a club with a special licence. Small need not mean tame.
Dromgoole proved with Pericles that this space can conjure up a sea change. His Tempest is less far-reaching, though shot through with fanciful amusements. The opening storm is a small cardboard model with a vessel tossed on hand-operated waves. Dominic Rowan, casually quipping with the audience, is an unusually funny Trinculo. As Prospero, often considered a Shakespeare surrogate, Tim McMullan is interesting rather than commanding: crusty and rigid with self-irony. Pippa Nixon brings something original to Ariel. She moves like a tightrope walker, lightly but deliberately. She sings, rapt and low-voiced, accompanied once by a sweet chorus of dogs: never has “merrily” sounded so melancholy. She is silky and wistful. Half-human, half-spirit.
A lovely moment towards the end makes a further suggestion. As Prospero releases Ariel, Miranda appears on stage, gazes at her and leaves at the same time. It is as if they are sisters – or reflections. This is a Dromgoole touch. As is the closing moment in which the cast, cupping nightlights in their hands, and whirling their arms in all directions, create a final dance. The stage might be filled with fireflies. Only at the Sam Wanamaker.
• At the Sam Wanamaker Playhouse, London, until 22 April
