| Peter Bull | ... | Alonso, the King of Naples | |
| David Meyer | ... | Ferdinand, his son | |
| Neil Cunningham | ... | Sebastian, his brother | |
| Heathcote Williams | ... | Prospero, the Right Duke of Milan | |
| Toyah Willcox | ... | Miranda, his daughter | |
| Richard Warwick | ... | Antonio, his brother | |
| Karl Johnson | ... | Ariel, an airy spirit | |
| Jack Birkett | ... | Caliban, a savage and deformed slave | |
| Christopher Biggins | ... | Stephano, a drunken mariner | |
| Peter Turner | ... | Trinculo, his friend | |
| Ken Campbell | ... | Gonzalo, an honest councillor | |
| Elisabeth Welch | ... | A Goddess | |
| Claire Davenport | ... | Sycorax | |
| Kate Temple | ... | Young Miranda | |
| Helen Wellington-Lloyd | ... | A Spirit | |
| Angela Whittingham | ... | A Spirit |
Directed by | |||
| Derek Jarman | |||
Writing credits(in alphabetical order) | ||
| Derek Jarman | writer | |
| William Shakespeare | play | |
Produced by | |||
| Don Boyd | .... | executive producer | |
| Guy Ford | .... | producer | |
| Sarah Radclyffe | .... | associate producer | |
| Mordecai Shreiber | .... | producer | |
Original Music by | |||
| Brian Hodgson | |||
| John Lewis | |||
Cinematography by | |||
| Peter Middleton | |||
Film Editing by | |||
| Lesley Walker | |||
Production Design by | |||
| Yolanda Sonnabend | |||
Art Direction by | |||
| Ian Whittaker | |||
Makeup Department | |||
| Keith of 'Smile' | .... | hair stylist | |
| Rosalind McCorquodale | .... | makeup artist | |
Second Unit Director or Assistant Director | |||
| Tony Annis | .... | first assistant director (as Anthony Annis) | |
Sound Department | |||
| Tony Anscombe | .... | sound re-recording mixer | |
| John Hayes | .... | sound recordist | |
| Trevor Rutherford | .... | boom operator | |
| Sarah Vickers | .... | sound editor | |
| Aad Wirtz | .... | first assistant dubbing mixer (uncredited) | |
Camera and Electrical Department | |||
| Denis Balkin | .... | grip | |
| Graham Berry | .... | clapper loader | |
| Bob McShane | .... | camera operator | |
| Mike Munro | .... | best boy | |
| John Rogers | .... | gaffer | |
| Bill Thornhill | .... | generator operator | |
| Peter Young | .... | sparks | |
Casting Department | |||
| Maggie Cartier | .... | casting consultant | |
Costume and Wardrobe Department | |||
| Nic Ede | .... | wardrobe (as Nicolas Ede) | |
Editorial Department | |||
| Annette D'Alton | .... | assistant editor | |
Music Department | |||
| Dave Campbell | .... | performer: "Stormy Weather" | |
| Guy Ford | .... | music producer | |
Other crew | |||
| Søren Fischer | .... | unit publicist | |
| Judi Futrille | .... | continuity | |
| Stuart Hopps | .... | choreographer | |
| Alasdair McGaw | .... | accountant | |
| John Scarlett-Davies | .... | personal assistant to director | |
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| Fellini Satyricon | Edward II | My Own Private Idaho | Salome's Last Dance | Photographing Fairies |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Drama section | IMDb UK section |
The Tempest has been interpreted in many different ways ranging from more or less traditional views as dealing with Art to more post-modern approaches that like to dissect the play along post-colonial, feminist, gender or deconstructionist lines. The reason why Jarman's version left me fairly cold is that I didn't have a clue what he was on about. What is the underlying vision/idea/concept behind this rendering of Shakespeare? The previous reviewers do not get much further than revenge tragedy, punk show, but surely there is more to it, isn't there? This is not to say that there is no vision here, just that I was hard put to discover it. Be that as it may, there are still things to enjoy. The punk flavour is refreshing and funny. Toyah Wilcox as Miranda and Jack Birkett as Caliban are wonderful. I did not much care about Williams as Prospero ... not enough magic I suppose. The switches between the old monastery/castle and the (very English) world outside can be a little unsettling at times, but I guess that is intentional. All in all, interesting but not quite the success I had hoped it might be (particularly after seeing Jarman's Caravaggio).