[NEohioPAL] Review: The Tempest at The Stratford Festival

[Lawrence Seman]

Review
The Tempest
Stratford Festival
Larry Semn
 
Shakespeare's The Tempest first appears in the accounts of The Master of Revels on November 1, 1610. Although the play has no known literary source in the published works of that time there are some interesting candidates of influence that recount tales of shipwrecks and mysterious islands. What is finally served up is the plight of a deeply wronged nobleman, cum wizard, who has been victimized by the treachery of his own brother and abandoned on an isolated plot of land with his lovely young daughter. Then by chance the very cads that were responsible for his banishment are brought within the reach of his magical powers. Ah a well-justified vendetta is plainly in sight you say, but hold on this adventure is a bit more complex than all that. Over the course of the play we find that Shakespeare isn't spinning a single-dimensioned ordeal laden Harry Potter tale.  Here we watch a trial of the spirit, and most of the real magic involves a
 reordering of that vital notion that: the quality of this life of ours depends not on an evening up of old scores, but letting go of the past and moving on with a wiser outlook towards the future. 
 
The much anticipated appearance of Christopher Plummer as the sorcerer-like Duke of Milan, Prospero, is not without its many rewards. Any actor worth his salt strives to move beyond skill and technique to inhabit his role and Mr. Plummer succeeds in admirable fashion. His reading of the lines is at times a revelation as his sonorous voice matches well with a well honed sense of letting the poetry dictate where he should follow. Here the partnership with the Director, Des McAnuff, gives a definite purpose to every gesture, continually giving frank expression to what might have been lost in forcing another approach. 
 
Mr. McAnuff could have easily let Mr. Plummer hold court and turn this production into a dominant star turn, he's that good, at times you can physically feel the rhythms of the verse. But thankfully this production goes above and beyond the tangible symbiosis between Director and Actor. The result is a wonderful performance by Plummer, a synthesis of concentration and relaxation that brings the character to vibrant life. It takes a supportive environment to produce such art and McAnuff leaves no doubt he has done a superior job. When for instance, the mighty magician states in an almost muted cri de coeur : "We are such things as dreams are made on . . . ." you can't imagine it being done any other way. 
 
How lovely a pair are the young ones of Miranda, played by Trish Lindstrom who gives the dear girl a likeable brassiness that bespeaks her ignorance of the wider world along with her would-be beau, Ferdinand, played with verve by Gareth Potter. They make a pleasing portrait of youthful courage who know only that they want to be together no matter how daunting the present situation appears. 
 
As Ariel, Julyana Soelistyo has created an apparition that is as close to seeing a spirit as you'll ever get. Cast in a haunting pale blue costume and makeup with the most constant darling smile you'll ever see Ms Soelistyo reminds one of a butterfly that is born of nature and flits about the stage as if on gossamer wings. Truly a masterpiece of characterization.
 
More intrigue is afoot when several heavies Sebastian (Timothy D. Stickney) and Antonio ( John Vickery) looking more despicable than ever plot murder and a political coup which ignores the fact that they are shipwrecked and no longer have their kingdoms to quarrel over. There's something in the air on this island that seems to conjour up great fits of ambition. A less serious cabal is at work in another part of the forest manned by what can be safely termed "knuckleheads inc." who hold a parlay of sorts to plot some sort of revolt against the Lord of the isle. The ridiculous triumvirate in waiting is led by the toss pot Stephano played in alcohol fueled style by Geraint Wyn Davies, and he is joined by his henchman Trinculo, who is given his bombastic best by Bruce Dow. In turn they team up with hag-born Caliban portrayed with great zest by Dion Johnstone, and the lads get all boozed up, disregard their ludicrous position as lowly
 minions and seek to map out a hostile takeover that never survives the fog of their reveling.
  
In the end forgiveness is the order of the day.
It has been said that "Revenge is a dish best served cold". But Prospero concludes that the amount of energy that one expends plotting and scheming to even things up, to reset the universe as it were, not only drains the enjoyment out of the present but poisons the well of hope for a brighter future in a brave new world. Still, given that the highly learned Duke of Milan ultimately comes to this realization and seems to hear the sermon, albeit internally, his better angels do struggle to trump his darker side that pleads for his own self-justification: eventually he reluctantly agrees. The fact that Shakespeare set this play on an island that is outside the strictures of society, and lets his main protagonist display supernatural powers gives it more of a moral punch than a few good sunday school lessons. Prospero ultimately does what he doesn't have to do and begs redress from us at the end: we know he could have gotten clean away with
 whatever he might have done and for us that is his saving grace. 
 
There are a host of other well-deserved plaudits for artistic credits ranging from; Robert Brill's revolving set, Paul Tazewell's costumes, to bits of flummery and fun by "magic coach" Greg Kramer, 
 
Many years ago I heard the departed Stratford Festival actor Nicholas Pennell say in a "talk back" session that the enjoyment of any production is tied to the full collaboration of everyone involved. And so it tis here. The sold out Festival theatre erupted in well deserved  cheers and applause at the final curtain in boisterous and affectionate appreciation for a total artistic effort that will be long and fondly remembered. 

 
Larry


      
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