Approximately thirty minutes before the start of the
show, oceans sounds begin playing through the speakers at the sides of the
stage. This was actually quite soothing, and it helped me focus on something
other than the two silly girls next to me who used the word “like” more than
all other words combined. (I’m considering purchasing a little hotel desk bell
and hitting it every time someone like that says “like,” just for a bit of fun.) Then at 7:10 p.m., a member of the
company came out in a yellow raincoat, yellow rain hat and rubber boots to make
some brief announcements. And then the play was off and running.
There is some modern dress used in this production, particularly
in the opening scene on the boat, in which the boat crew is wearing that yellow
rain gear. The boat’s captain (or Master, as identified in the text) enters in
a somewhat modern captain’s outfit, while deliberately cheesy music plays on
the speaker, making us think of The Love
Boat. There is also the use of a megaphone (later, Ariel will use it when
saying “Thou liest” to Caliban).
Sebastian, Antonio, Gonzalo and the rest, however, are in period costumes, all
of bright red fabrics. The cast does an excellent job with this scene, their
movements really making me feel I was on a tossing vessel.
In the second scene, Prospero (Thom Rivera) enters
first from upstage, with Miranda (Erika Soto) entering behind him once he has
moved downstage. Both are barefoot. Prospero’s magic garment is a sleeveless
robe whose pattern and colors bring to mind the ocean. This production does
some interesting things with this scene. First, several spirits dressed in
black are introduced, and they bring out a chair for Miranda to sit upon, even
lifting her at one point, as if she were floating upon the sea. Also, when
Prospero says, “thy false uncle,” he
sees his brother, who steps onto the stage from within the audience. So it is
Prospero that becomes distracted, not Miranda, and so though his next line “Dost thou attend me” is still directed
at Miranda, it is a way of shaking off his own distraction. This is such a
great touch. And then when he mentions Gonzalo, Gonzalo appears upstage.
Gonzalo then hands him a book on Prospero’s line about his books. Miranda’s
“Would I might/But ever see that man”
then has another significance, as she can’t see him there onstage. By the way,
Erika Soto is absolutely adorable as Miranda, possessing the right youthful
energy and outlook.
As is usually done, Ariel is here played by a woman
(Kalean Ung), though dressed in trousers, a vest and old flight goggles and
hat, giving the character a somewhat gender-free vibe. In the text, Ariel is
clearly male, but here the more fluid gender makes the relationship between
Prospero and Ariel more interesting. Ariel also has wings. I love the
excitement and pride Ariel has when the describing the work she has done for
Prospero. Then Ariel is able to change tones greatly and give a strong reading
of “Is there more toil?”
Caliban (Sean Pritchett) enters from within the caves far
off to the side of the audience. (The Independent Shakespeare Company has its
stage by the site of the old zoo in Griffith Park, and this is the first time I
can recall the cast making use of those caves. It is a really wonderful touch.)
Caliban’s eyes are of two different colors; he wears a sort of neck brace
(showing that Prospero has perhaps taken some care of him) and one shoe (which
you might imagine was once Prospero’s). Miranda’s words to him do quiet and
still Caliban, at least for a moment, which is nice, showing that Caliban in some
way does like her, has perhaps allowed himself to be tamed by her
(though has mixed feelings about this).
When Ariel sings for Ferdinand (Evan Lewis Smith), she is backed by a band
of spirits playing accordion and percussion. During this, Prospero and Miranda
stand upstage left, with Miranda facing away from the action and the audience,
clearly under Prospero’s spell, while Prospero watches all. When Prospero wakes
Miranda to look onto Ferdinand, Ferdinand walks slowly out into the audience
before turning to see Miranda. After Prospero disarms Ferdinand, he hands the
sword to Ariel, which shows just how much he trusts that spirit.
The second act begins with Alonso (Joseph Culliton) calling out Ferdinand’s
name before Gonzalo (Lester Purry) begins his speech. William Elsman is funny as Sebastian
when poking fun at Gonzalo. And Faqir Hassan is excellent as Antonio, when
working to convince Sebastian to murder Alonso. Sebastian and Antonio put their
swords away, so Gonzalo’s “Let’s draw our
weapons” prompts them to take them out again, rather than the line being
directed at himself and Alonso, another nice touch.
Trinculo (Lorenzo Gonzalez) enters from the audience. He
is very much the clown in this production, even sporting a red nose. The
majority of modern references in this production come from him and from
Stephano. For example, Trinculo delivers “sing
i’ th’ wind” to the tune of “Singing In The Rain.” On “Legg’d like a man,” Trinculo touches Caliban’s leg. His hand then
drifts toward Caliban’s crotch on “and,”
but Caliban’s slaps his hand away, leading Trinculo to finish the line, “his fins like arms.” So there are strong
and humorous sexual suggestions aimed at Caliban from Trinculo. Stephano (David
Melville) wears a red bowler and carries a walking stick. His nose is red too,
but from drink. It’s interesting because of the costume choice to clothe that
entire party in red, for it makes Trinculo and Stephano even more red, thus
even more a part of the group, though they are separated from the rest for most
of the play. When Caliban sings his farewell to his old master, he is backed by
the spirits in black on percussion.
Some of the silliness with Trinculo falls a little flat,
such as the play on him holding up three fingers and then four when saying “there’s but five upon this isle.” But
most of what Trinculo and Stephano do is quite funny and effective. I love that
at the end of Act III Scene ii, Stephano follows Ariel upstage right, while
Caliban tries to lead him downstage left; this of course being when he says he’ll
follow the monster, another wonderful touch. There are more modern references
and jokes during the wardrobe rack bit.
This production includes the pageant scene, with Iris,
Ceres and Juno singing, each in a bright dress. Ariel also joins in their song.
Juno hands Miranda her flowers, a sweet touch. Another fantastic moment is when
Ariel delivers the “were I human”
line to Prospero. It’s a great moment between the two characters, and we see
the change in Prospero’s demeanor. I also really like the ceremony with which
Ariel removes Prospero’s magic garment and replaces it with his red robe (to
match the others, signifying his return to the normal state of relations).
Ferdinand and Miranda are wheeled in on a chest while playing chess, rather
than being revealed upstage. Ariel is given a proper exit in this production,
and after being set free, runs happily straight out into the audience. The
epilogue is included.
There is one intermission, coming at the end of the first
scene of Act III. Leading into that intermission, Stephano enters from the
audience, asking for wine, and joking with an audience member who had brought
wine. Stephano, Trinculo and Caliban then go on stage to mention the
concessions and so on. The intermission lasts approximately fifteen minutes.
The show ends just before 10 p.m. This production of The Tempest was directed by Matthew Earnest, and runs this weekend
and next weekend (actually, Wednesday through Sunday), with the last
performance being on September 4th. The show is free, but donations are
accepted and encouraged.
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