Pericles is one of Shakespeare’s least performed plays and there are reasons for that. A plotline which covers countless locations in obscure ancient lands, a patchy timeline and a story which is both complex and somewhat preposterous, it tends to fall by the wayside in favour of the popular Othellos and Much Ados.

However the story does have much to tell us in terms of human nature, loyalty, family, friendship, leadership and self-worth. And so it is great to see the play back on the stage at the Swan Theatre after a gap of 18 years from the Royal Shakespeare Company.

Directed by Tamara Harvey, RSC co-artistic director, this production accepts that the audience is being asked to suspend more than a modicum of disbelief and in fact celebrates that fact. There are moments when cast members bring in the audience, almost giving us a wink and a nod, as if to say ‘just go with this and it will all turn out fine in the end’.

This light-hearted spirit infuses the play despite its often dark and disturbing content so that the production is both hugely entertaining and enjoyable.

That’s not to say that Harvey shies away from the difficult subject matter and indeed we are so engrossed in the tales of woe which fall upon Pericles and his family that when we finally experience relief and indeed the joy of reconciliation, it is difficult not to feel emotionally moved.

Alfred Enoch gives us a questioning and resilient Pericles. Buffeted by the winds of misfortune again and again he continues onwards a little like Odysseus in search of something not quite defined. When the blows of life become too much for him to bear he retreats into himself, into a world of silence, until fate restores his fortunes and his happiness.

We see tenderness but an intense inner strength in Rachelle Diedericks’ Marina, Pericles’ daughter. Faced with death she begs for her life and faced with dishonour she realises that death is not always the worst fate. Diedericks also takes on the role of narrator, replacing the more traditional Gower character, but morphs perfectly into Marina.

There is a good balance of comedy provided largely by Christian Patterson as the king Simonides whose glee at marrying off his daughter Thaisa, played with sensitivity by Leah Haile, almost has him jumping with joy. And Harvey tackles the thorny issue of Marina’s potential sexual abuse in a brothel by infusing it with almost slapstick humour in the shape of Felix Hayes as the Pander and Jacqueline Boatswain as the Bawd.

Designed by Jonathan Fensom, the set is minimal but functional with boats and shipwrecks created in conjunction with light and music. Kinnetia Isidore’s costume designs are wonderfully complex while appearing simple - colour codes help us place different nations while interlinked designs help us connect family members.

Claire van Kampen’s music is ethereal, conjuring up the world of the ancients and mystical gods and goddesses and is played beautifully by the live performers.

This production is a reminder of the benefits of going beyond the usual canon and that many of Shakespeare’s lesser-known plays have much to bring to the modern stage and to audiences.

Four stars

Reviewed by Diane Parkes on Saturday 17 August.

Pericles continues to show at the Swan Theatre, Stratford-upon-Avon until Saturday 21 September.