When approaching Shakespeare in the twenty-first century many choose to re-invent the classical plays, updating the setting to a post-modern world of chaos, smart-phones and Tinder. Relating the stories of Shakespeare to the lives of people in 2014 can be incredibly exciting to watch when done well; we can feel an honest connection to the drama of the world of the play when set in our everyday setting. But danger comes with reinventing the world of the play: if it’s not fully justified it’s just an update for an update’s sake, not a new spin on the story to shine a new light on it.

The Tempest at Waterloo East Theatre looks very promising when entering the theatre. Staged as an apocalyptic London, designer Dan Gillingwater takes us to a dangerous place of plastic and rubbish, transformed into spiritual wonder and urban territory. Blue plastic hanging from washing lines create an imaginative and exciting landscape for Prospero’s island, and with Ariel hovering in a net above the audience’s entrance to chilling sound effects (also by Gillingwater) we are immersed into a strange world of wonder and danger, where human destructiveness and spirituality meet. So far so good.

The Tempest unfolds with the company physicalising the struggle with Ariel (Prospero’s other-worldly servant) and her disruption of the sea. The idea is great and has thrilling potential, but the execution seems slightly dull as the performers lack a stronger inner drive. We are then propelled into Prospero’s world with his daughter Miranda and servant Caliban, and Shakespeare’s incredible writing is delivered. Unfortunately the narrative is slightly lost in the acting as we lose the connection between characters – they establish a polished relationship with each other on the surface, but never dig deep to where it really hurts and warms. As characters, all know their own function of the story, but they never seem to really live and truly respond to each other.

Guy Wolf is charming as the lost Ferdinand as he falls in love with Miranda (Rebecca Hazel). The scenes of discovery are precious moments, but they are rare and clouded by comic relief scenes which are funny in their slapstick, but seem to mock the characters at the same time. The potential is there if pulled back slightly. It is exciting to see a strong female figure as Ariel (played by Chipo Kureya), and her spirit sidekicks are great, but she loses a bit of the spiritual lightness to the character and seems more like Prospero’s earthly pet, closer to the nature of Caliban than the nature of a spirit.

The scenes with Prospero (Tom Keller), Miranda and Ferdinand vibrate with something that could ultimately be brilliant, but is crushed to the floor when Ariel and her spirits bless their love with a striptease. Dressed in latex and later indulging in what can only be described as an onstage orgy they seem more like the sexual fantasy of a creepy Prospero. For a big Tempest lover it hurts to see one of Shakespeare’s greatest comedies of love, magic and humanness milked for sex.

It is a shame as Gillingwater’s set and sound has so much potential. Lots of great ideas have been thrown into this production, no doubt. but unfortunately the execution seems rushed and superficial.

The Tempest is playing at Waterloo East Theatre until 26 October. For more information and tickets, see the Waterloo East Theatre website.