An autocrat and a sorcerer, it is Prospero who conjures up the play’s action. It is he who, together with his servant spirit Ariel, brings about a series of events that explore issues of vengeance and forgiveness. It is Branagh who portrays a Prospero who acts from a position of total authority. A Prospero who is as much in control at the end, when he comes to understand the rarity of virtue over revenge, as he is at the beginning, when he dominates the enchanted island and its few inhabitants.

And so it is strange that Branagh’s powerhouse of a performance is interrupted now and again by shifts in his delivery, as he speaks some lines without rhythm and at a pace that is slow and even plodding. Our suspension of disbelief, which the spectacle of this production wills upon us, is broken by these odd interludes.

This aside, there is much that is spectacular and many strong performances to enjoy in this production. The opening scene is a triumph of stagecraft. Prospero appears with the house lights still up, nonchalant and understated. Until, that is, he dons his magician’s cloak, raises his baton and conducts up a storm. The sea swirls, lightning flashes and the drums roll loudly. The sails of a fragile boat flap wildly, and the way is set for the shipwreck of Prospero’s adversaries on the island. The effect is stunning.

Visual effects and musical accompaniment continue and, in many ways, steal the show. Ariel (Amara Okereke) flips and flies above the stage from a suspended harness, her remarkable voice soaring above the action. Masques are performed by spirits who take over the stage with ethereal dance and song. Miranda and Ferdinand exchange vows against a gorgeous backdrop of suspended planets.

Miranda (Ruby Stokes) and Ferdinand (Fred Woodley Evans) are both delightfully human within this otherworldly setting, their youth and their open minds bringing a note of optimism.

Refreshingly, Caliban (Ashley Zhangazha) is portrayed with dignity. Far from being a monster, he is indigenous to the island, and his speech about its sweet sounds and airs is a testament to his sense of beauty and truth.

Branagh’s performance is perhaps at its best in the final scene. Having understood the significance of forgiveness and the importance of freedom, Prospero releases Ariel from servitude and, with the respect that is due, dresses Caliban in his sorcerer’s cloak. Prospero’s plea for the audience to release him too, is Branagh at his peak. The sweeping away of the backdrop at the end of the production breaks the spell and is a reminder that theatre, after all, is an illusion.

The Tempest was directed by Richard Eyre. Set designer was Bob Crowley and costumes were designed by Fotini Dimou. Lighting designer was Hugh Vanstone and the composers were Akintayo Akinbode and Stephen Warbeck. Sound design was by Nicola T. Chang and video design was by Akhila Krishnan.