If comedy is what you’re looking for, a slice of light relief from deadline season, then this interpretation will be for you. However, if you are looking for a polished version of Shakespeare’s classic text, then it is perhaps not.

This play of bucket hats, pool inflatables and flip flops could undeniably have done with a few more weeks of rehearsal; the quick Bedlam theatre turn around a bit too cut-throat for a play requiring more than a months consideration. While most lines were memorised, their often monotone delivery failed to transport the viewer into 16th century island territory and instead fell sadly to a half empty auditorium. The casting and acting of Prospero’s spirit Ariel was very accurate, however, the singing of words vaguely known, accompanied by chaotic ukulele strumming could have done with being replaced by a recording as the live action rendition did not land well, or in tune. Similarly, some actors could have done with a little more revision of lines, with the occasional silence or repetition severely drawing the viewer out of the action. All this a product of being under-rehearsed and proving the difficulties of attempting to stage Shakespeare in 6 weeks.

Despite this, Caliban was the perfect blend of a swarthy and resentful island native, and, when accompanied by the sub-plot cast of Stephano and Trinculo, the trio hit the perfect spot of stage comedy. Stephano drew the most laughs from the audience as the drunkard come ‘king’ figure, especially in relation to Caliban, with their ‘kiss thy foot’ scene forcing even the sternest audience member to succumb to a chuckle. The introduction of this motley crew somewhat saved the performance as their scenes are purposely written to be comedic, and achieved this wonderfully, while the constant gags of the royal party and usurped family felt forced; language not written to be funny being followed by a laugh gap.

The set was made up of pool inflatables, a deck chair and a fridge (?) and therefore from first glance this largely chaotic view posed that one should suspend belief in a succinct performance. This was confirmed in the very confused masque scene following a ‘disappearing banquet’ of Cirverinos pizza boxes. The scene was performed in a half cut manner which would have benefitted from being either performance in full or not at all, as I’m sure even Shakespeare would not have been able to deduce what was going on.

The Tempest was evocative of an elaborate party drawing together various different friendship groups, verging on the chaotic but everyone having a good time regardless. However, the seat next to mine was occupied at the opening of the play and empty following the interval, take from that what you will.