The term legacy is often over used but the work of experimental theatre director Robert Wilson who sadly passed away earlier this year is rightfully celebrated with his production of Shakespeare’s celebrated play that lends itself perfectly to his innovative exploration of time and space on stage.
Opening to the travails of a ship at sea, we meet Prospero (Vesslin Mezekliev) and his daughter Miranda (Zhaklin Daskalova), and learn how 12 years ago his brother, with assistance from Naples, had usurped him as Duke of Milan. Put to sea in a rotten boat, they washed up on a distant island inhabited only by the son of a witch, Caliban (Yavor Valkanov), and a spirit, Ariel (Vasilena Vincenzo). Since then, Prospero has ruled the island and its two inhabitants using magic arts and having divined that fortune has brought his old enemies close, he raises a tempestuous storm to bring their very ship to be dashed upon its shores.
Miranda has never set eyes upon another human so when she stumbles upon Ferdinand (Plamen Dimov), son of the King of Naples, who has swum ashore from the wreck, a budding romance ensues, watched over by Prospero to ensure Ferdinand is as sincere as he appears to be.
Then other survivors appear: Alonso (Stoyan Pepelanov), King of Naples; his brother, Sebastian (Zafir Radjab); and Prospero’s own brother, Antonio (Konstantin Elenkov), accompanied by Prospero’s honest counsel, Gonzalo (Valentin Ganev). It’s only a matter of time before Antonio and Sebastian are plotting misdeeds which the loyal Ariel informs Prospero.
And then the fun begins as we meet jester Trinkulo (Stefan Kushev) and drunken Stephano (Vasil Draganov) who, chance upon Caliban. With Caliban hoping to turn the tables on Prospero, the ever-observant Ariel calls upon the Spirits (Nencho Kostov; Gergana Zmiicharova; Vyara Tabakova; Vladislava Nikolova) to provide some enchantment and mystery as this mysterious and supernatural tale unravels love and romance, treachery and revenge, and, in its search for justice, forgiveness.
Wilson’s avante-garde production – co-directed with Ann-Christin Rommen and he also designed the set with Marie de Testa – plays on the inner psyche and surreal nature of its characters, bringing the cast to the fore with the minimalist of sets but with clever use of lighting – which he designed with Marcelllo Lumaca – to emphasise the suspense with shadow and silhouette. Combined with Dario Felli’s sound design and Yashi’s costume, hair, and make-up design and this is truly a feast for the senses.
All the cast excelled and I enjoyed their introductory stroll across the stage at the beginning where we were greeted with stance and sound effect to highlight their traits in a commedia dell’arte style which was to continue throughout and whilst this production was performed in Bulgarian – translated by Valeri Petrov and adapted by Jutta Ferbers – with English surtitles, the clever use of physical theatre styles was more than enough to overcome any language barriers and keep the action unfolding. When Miranda sung Perfect Day by Lou Reed – a collaborator and contemporary of Wilson – it confirmed this was a perfect night of theatre this and a tribute to one of the world’s vanguard theatre artists.
The Tempest will be performing for one more time at the Ivan Vazov National Theatre in Sofia on 31st December 2025.
Reviewer: Mark Davoren
Reviewed: 25th November 2025
North West End UK Rating:
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