|
|||||
|
|
Peer Reviews The Tempest Reviewed by Keith Waits Entire contents copyright © 2008, Keith Waits. All rights reserved.
A well-respected theatre professional was overheard to say recently that The Tempest is one of Shakespeare's less interesting plays because, ... "nothing happens!". It certainly seems true that the plot is one of the less complicated among the Bard's writings, but perhaps this is the play's greatest virtue, making it an accessible and engaging script. Marc Masterson's new production at Actors Theatre of Louisville does full justice to the magic and romance of the piece, with a visual design that is simple yet grand, and a mostly effective musical score performed live. The opening scenes erupt with energy and style, as the titular storm is presented to startling effect with simple and economical stagecraft involving curtains of music, light, fabric and sand. The latter two elements drop to the stage as detritus, but are then utilized as the primary set design for the bulk of the production. This is fine, imaginative work from ATL's resident scenic designer, Paul Owen. The limited palette employed in the set design carries over to the costumes, but with mixed results. Some of the costumes work effectively enough -- for Prospero, Caliban, and a few others, for example -- but much of it seemed uninspired and ill-fitting. The bird-like plumage for Ariel was a particular problem, distracting from the actor's strong performance. Eric Bondoc provided a graceful and athletic Ariel, wafting in from above the stage and the audience, rigged to "fly," the entire performance coming from on high, effectively expanding the stage beyond the traditional confines of the stage floor. Many of the other opening night performances seemed to be searching for their footing, but the uncertainty soon disappeared for several, as Henry Woronicz proved a commanding and wise Prospero, majestic and authoritative. Virginia Kull faltered in her early scenes, but once she meets Avery Glymph's Ferdinand, she begins to find the character's awakened sense of discovery and delight at finally meeting humans other than her father.
Although all are top-flight professionals, some of the cast failed to rise above workmanlike, but Jeffery V. Thompson's most unusual Caliban is a creation that the audience will find hard to forget, and Graham Smith as Gonzolo was a sly, subtle delight. As the clownish Stephano and Trinculo, Aaron Munoz and Casey Greig earned their laughter, channeling the spirits of Laurel and Hardy in their physical buffoonery. Much anticipation greeted the live musical accompaniment by three very talented musicians, Gregory King, Christian Frederickson and Jason Noble. In the early scenes the music threatened to distract, but then we were delivered a lithe and lyrical passage of considerable beauty during the love scene just before intermission, and several more again during the climax and denouement, so that the score ultimately was a unique and welcome portion of the production. Following some well-judged pageantry involving flower petals in the finale, Mr. Masterson injects one final, original note of humorous mischief after Prospero has exited the stage, and the audience is bid goodnight on a graceful note.
The Tempest Posted Jan. 4, 2008
|
||||
