The Orchestra of the Age of Enlightenment continued their collaboration with The Globe’s new Sam Wanamaker Playhouse with an imaginative performance of Matthew Locke’s music for the 1674 production of The Tempest (or Enchanted Island), devised and directed by Elizabeth Kenny with stage direction and text adaptation by Caroline Williams. Following the Musica Brittannica edition, the music included additional pieces by Pelham Humphrey, Reggio, Banister, Purcell and Hart. The five OAE instrumentalists were joined by three singers, two boy trebles together with two actors who cleverly acted all the parts in the extracts from the rather curious version of Shakespeare’s play for which Locke provided the music. Despite the oddities of the text, this Tempest was extraordinarily popular at the time, with frequent revivals over the following 150 years. Although 21st century eyes and ears might not rate the play quite so highly, setting Locke’s relatively well-known music in the context of at least part of the spoken text and stage action does help with understanding the context of music like this. Along with Purcell’s examples, this repertoire is difficult to slot into the mainstream European musical tradition of the late 17th century. The Wanamaker Playhouse is a gloriously intimate space for such performances, the candle lighting added much to the atmosphere. This was a lively and, at times, very funny production, not least when one of the actors portrayed a sword fight by playing both characters at the same time. The impressive singers were Katherine Watson, Frazer B Scott and Samuel Boden.