The Tempest’s storm is often what proves the initial challenge for a production team tackling the play and the Newnham Anonymous Players are, I think, onto something when they choose to attack it with dance. This abstract moment, a refrain picked up again with the masque and the various enchantment scenes, is a high point of the play.

The dances are well choreographed and the costumes and makeup of the various sprites and spirits are things of beauty, in admiration of which I must give a quick salute to the team behind them. It is these quintessential moments that really highlight director Clare Rivers Mohan and producer Kat Burnett’s understanding of the text and they physical space with which they are working.

However, once the first, balletic tempest is dispensed with, the hypnotic effect of this wonderfully produced play wears off a little and we are left with the actors on stage. Whether it is due to first-night jitters or to the apparent lack of focus in some of the cast, it is difficult to say, but unfortunately they are the weak link in what is otherwise a strong piece.

Julian Mack’s Prospero starts out hesitant and is seemingly unaware of the power of his character’s lines, overwhelming them with the supposedly emphatic beating of magic staff upon stage (“I’ll break my staff” – please, for the sake of your audience, do) but gains momentum throughout, his epilogue being rather good. With the notable exceptions of Hannah Mirsky and Laura Rowson’s genius turn as the doubled role of Ariel and Hafsa Zyyam’s frankly inspired Caliban, the rest of the cast range from fine to dire.

Overall, this was a brilliantly-directed, well-produced play with some truly sterling actors, which was let down by a lack of focus and presence on the part of some cast members.