The Tempest

[BM]

It is not always in the interests of a production to be reviewed, even positively, before the last night is over. After all, reviewers are blessed with the power to foster both preconceptions and expectations. The idea of a student without preconceptions of Shakespearian drama, however, is implausible if not impossible, and I suspect that everyone who saw the production with me this evening will be as eager to tell you about it as I am. Forgive me, therefore, if I say a few words.

James Hartman mentions at the beginning of his programme that “We are bored of being an audience, we want to be like the French who when sitting in a theatre are les spectateurs”. This is a worthwhile introduction to the most obvious feature of his direction. The staging is a visual feast: stunningly colourful and full of hypnotic, magic and erotic imagery. The script is punctuated by substantial periods in which there is no speaking at all, and you cannot help but leave the auditorium with the impression that every movement – every last sound, gesture and pause, in fact – was deliberate. I can only imagine the months of careful dissection, experimentation and reduction that must have led to such a polished performance from all the cast and crew.

Ayman Oghanna is well cast as Prospero, in spite of some rather hollow opening speeches. He soon begins to shine, however, and by the last act this evening he was basking in the conceits and themes that define his part. Dramatically it was a shame that Lea Pascal was cast as his wrongdoer, King Alonso. I don’t believe that even the very finest actress could convey the idea that the King’s mistakes are, perhaps above all else, male failings, and without that depth the part seemed a little bland and unimportant. She was better suited to her other role as Ariel (also played by Holly Harris, Seth Ewin and Andrew Johnson), who together brought alive the ethereal magic and mystery of that beautiful role. In appropriate contrast, Anselm Ibing’s Caliban was earthy, vile; natural and shocking. His speech about the island was the most poetic and beautiful of the evening, a distinction of which Shakespeare would probably have been proud.

It must be remembered, however, that Caliban, Sebastian (Michael Stacey) and Trinculo (Seth Ewin) are always popular characters. All three parts were very well acted, but unlike other productions they did not have to hold the show together. The aspect that impressed me most, on the other hand, was the way in which the audience was captured by the characters of Ferdinand and Miranda (played by Christopher Zegel and Becky Palmstrom). Criticising Shakespeare is probably unwise, but these are two of the dullest characters in theatre, let alone Shakespeare. To have turned their roles into something entertaining and interesting – by which I really mean something which surpasses the ‘meaningful’ – is a very significant achievement. Similarly, Andrew Johnson’s Gonzalo, Michael Stacey’s Sebastian and Anselm Ibing’s Antonio created several unusually engaging scenes in the play which have had a tendency to drag in other productions.

I could rabbit on about the production – the carefully contrived lighting, the intelligent use of music, the variety of costumes – but it shouldn’t be necessary. Go and see it for yourself. Beg, borrow, buy – sleep your way into the auditorium if that is what it takes: you won’t regret the effort.

BM 20.2.06

[Spooz]

Wheres it on and how much are the tickets?

[BM]

Quoting Spooz from 16:44, 21st Feb 2006
Wheres it on and how much are the tickets?

Byre, and I think £8

[a for effort]

i could not have said it better myself. brilliant. absolutely polished down to every finger twitch and eye flutter. it was passionately delicate, if that makes any sense. wish i could see it again in prague. albeit i'll be at home by that time.

[__Sam__]

Oh no, was the last performance really tonight? The Tempest is my favourite shakespeare play - I wish I'd gone *sniff*

[AR]

You can see it again at Showcase! The Mermaids arts festival April 25-29th at the Byre

[hr]

"Well la de dah... la de dah"
--annie hall

[BM]

Really looking forward to the showcase - there should be an excellent selection of drama.

BM

Quoting AR from 00:54, 23rd Feb 2006
You can see it again at Showcase! The Mermaids arts festival April 25-29th at the Byre

[hr]

"Well la de dah... la de dah"
--annie hall

[fran]

See, what I don't get: Why the heck are these people studying here???? I mean most of the professional actors that I've ever seen on stages are far far far worse than any "in-my-freetime-when-not-drunk-or-studying-"actors here. Why is that? GO OUT TO THE WORLD AND CHANGE THAT INSTEAD OF STUDYING HERE!

[BM]

Quoting fran from 19:22, 23rd Feb 2006
See, what I don't get: Why the heck are these people studying here???? I mean most of the professional actors that I've ever seen on stages are far far far worse than any "in-my-freetime-when-not-drunk-or-studying-"actors here. Why is that? GO OUT TO THE WORLD AND CHANGE THAT INSTEAD OF STUDYING HERE!

Are you trying to insinuate that people actually study here?

[img]littleicons/raisebrow.gif[/img]

[Midget]

Quoting fran from 19:22, 23rd Feb 2006
See, what I don't get: Why the heck are these people studying here???? I mean most of the professional actors that I've ever seen on stages are far far far worse than any "in-my-freetime-when-not-drunk-or-studying-"actors here. Why is that? GO OUT TO THE WORLD AND CHANGE THAT INSTEAD OF STUDYING HERE!

Just cause we are amazingly talented actors doesn't mean we are not allowed to go to University and study a degree if we so wish.

[hr]

IMAGE:img9.imgspot.com/u/04/241/18/160019.jpg Too far.
http://standrews.facebook.com/profile.php?id=37100090

[ajj24]

Quoting fran from 19:22, 23rd Feb 2006
See, what I don't get: Why the heck are these people studying here???? I mean most of the professional actors that I've ever seen on stages are far far far worse than any "in-my-freetime-when-not-drunk-or-studying-"actors here. Why is that? GO OUT TO THE WORLD AND CHANGE THAT INSTEAD OF STUDYING HERE!

We can't win either way. If we decide to choose acting as a career we get shot down and told to "get a proper job" or something along those lines, yet when we do attempt to get a degree for a 'proper job' we get told to go do acting. It's all so confusing.

[Monster Sink]

I think what Fran means is that what she saw in The Tempest was far better than any professional performance she's seen.

It was a compliment.

[Midget]

Thanks fran.

I like compliments a lot. There's only one thing better than being complimented on your performance on stage...

[hr]

IMAGE:img9.imgspot.com/u/04/241/18/160019.jpg Too far.
http://standrews.facebook.com/profile.php?id=37100090

[Mademoiselle]

Quoting Midget from 17:00, 24th Feb 2006
Thanks fran.

I like compliments a lot. There's only one thing better than being complimented on your performance on stage...

[hr]

IMAGE:img9.imgspot.com/u/04/241/18/160019.jpg Too far.
http://standrews.facebook.com/profile.php?id=37100090

hahahahahaha

[fran]

Do you mean something Freddie Mercury allegedly used to do to recuperate from performing?

[JB]

Hello BM

I'm sorry I am not used to this messaging board, in fact I am new to the sinner. What a fantastic review. Anychance you might chuck it towards The Saint? I have a feeling they are looking for someone to write a review. Thanks so much for your comments...was so chuffed to read them.

best
JB (Tempest Director)

Quoting BM from 23:52, 20th Feb 2006
It is not always in the interests of a production to be reviewed, even positively, before the last night is over. After all, reviewers are blessed with the power to foster both preconceptions and expectations. The idea of a student without preconceptions of Shakespearian drama, however, is implausible if not impossible, and I suspect that everyone who saw the production with me this evening will be as eager to tell you about it as I am. Forgive me, therefore, if I say a few words.

James Hartman mentions at the beginning of his programme that “We are bored of being an audience, we want to be like the French who when sitting in a theatre are les spectateurs”. This is a worthwhile introduction to the most obvious feature of his direction. The staging is a visual feast: stunningly colourful and full of hypnotic, magic and erotic imagery. The script is punctuated by substantial periods in which there is no speaking at all, and you cannot help but leave the auditorium with the impression that every movement – every last sound, gesture and pause, in fact – was deliberate. I can only imagine the months of careful dissection, experimentation and reduction that must have led to such a polished performance from all the cast and crew.

Ayman Oghanna is well cast as Prospero, in spite of some rather hollow opening speeches. He soon begins to shine, however, and by the last act this evening he was basking in the conceits and themes that define his part. Dramatically it was a shame that Lea Pascal was cast as his wrongdoer, King Alonso. I don’t believe that even the very finest actress could convey the idea that the King’s mistakes are, perhaps above all else, male failings, and without that depth the part seemed a little bland and unimportant. She was better suited to her other role as Ariel (also played by Holly Harris, Seth Ewin and Andrew Johnson), who together brought alive the ethereal magic and mystery of that beautiful role. In appropriate contrast, Anselm Ibing’s Caliban was earthy, vile; natural and shocking. His speech about the island was the most poetic and beautiful of the evening, a distinction of which Shakespeare would probably have been proud.

It must be remembered, however, that Caliban, Sebastian (Michael Stacey) and Trinculo (Seth Ewin) are always popular characters. All three parts were very well acted, but unlike other productions they did not have to hold the show together. The aspect that impressed me most, on the other hand, was the way in which the audience was captured by the characters of Ferdinand and Miranda (played by Christopher Zegel and Becky Palmstrom). Criticising Shakespeare is probably unwise, but these are two of the dullest characters in theatre, let alone Shakespeare. To have turned their roles into something entertaining and interesting – by which I really mean something which surpasses the ‘meaningful’ – is a very significant achievement. Similarly, Andrew Johnson’s Gonzalo, Michael Stacey’s Sebastian and Anselm Ibing’s Antonio created several unusually engaging scenes in the play which have had a tendency to drag in other productions.

I could rabbit on about the production – the carefully contrived lighting, the intelligent use of music, the variety of costumes – but it shouldn’t be necessary. Go and see it for yourself. Beg, borrow, buy – sleep your way into the auditorium if that is what it takes: you won’t regret the effort.

BM 20.2.06

[Don Anselmo]

Well, you'll be glad to hear (as was mentioned before above), that THE TEMPTEST shall be performed again in only about 2 months time... also in the Byre theatre, as part of the fantastic and much-to-look-forward-to SHOWCASE student theatre festival.

As far as I know, the TEMPEST will be on Thursday the 26th April.
So there's the chance for all those who missed it and for those who want to see it again.

As one of the actors, I should say thanks to everyone of the 660 people that came to see it - the laughs, the support, the comments and the applause made us "chuffed as chutney" (as our director would say).

Charlie, thanks for an excellent review.

[Midget]

659, I met someone who thought it was so good they came twice.

*blows own trumpet*

[hr]

IMAGE:img9.imgspot.com/u/04/241/18/160019.jpg Too far.
http://standrews.facebook.com/profile.php?id=37100090

[fran]

I was thinking about doing that, but thought that the actors might just see that as an indication of a personal obsession with them. St A's just too small to do that.