On the Twelfth Day of Christmas . . .
Unusually we weren't at home this New Year's Eve. We were at Stratford-upon-Avon for the Royal Shakespeare Company's final performance of 2016: The Tempest.
It's not my favourite Shakespeare play but we were intrigued by all the publicity showcasing the advanced technology used to create avatars and other visual illusions. And, since we hadn't made any other plans, we decided to give it a go. We weren't disappointed. It really was something to behold. I'd feared that the richness of the dialogue and the skill of the actors, including that of Simon Russell Beale, might be eclipsed by all the special effects. Yet far from dominating, the technology supported The Tempest's stormy tale of greed and grace by augmenting the dramatic moments of light and dark, pleasure and pain, freedom and enslavement. Truly, it was a triumphant rendering of this early seventeenth century play fused with some of the most sophisticated digital techniques ever witnessed by a theatre audience. And, whilst it might not be the most obvious choice for a Christmas show, there is, I think, some resonance between The Tempest's tale of reconciliation and forgiveness with the message of love and humility embodied in the Christmas story.
And that seems like a fitting note on which to conclude this, our MooreMundi 'Twelve Days of Christmas'. We hope you have enjoyed reading all that I have written as much we have enjoyed sharing it for, to paraphrase Prospero, the purpose of this project "was to please" but now I must ask you to "set me free" because it's time to take down the Christmas tree.