Reviewing Theatre For Over 40 Years
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These elemental moves include concepts borrowed from Asian and Classical Greek theater traditions, and there will also usually be an odd whimsy, often involving the injection of a carnival-like moment, at some point in the show. Sometimes this all feels like a non sequitur to the plot, but in their new production of “The Tempest” their signature moves gel, and help sell the play itself.
From the very start, the hovering “ensemble,” anonymous in Greek-like masks and acting similarly to the pseudo-invisible stage hands of Chinese opera, makes a huge impact. As the magical Ariel (Kimberleigh Aarn) tosses a ship about, the fabric sea is made menacing by this chorus. Indeed, the very magical nature of the tale of Prospero, an overthrown noble with magical powers who wreaks his revenge through the use of spells and spirits, benefits from the eerie otherworldly quality of this production.
In a bit of a twist, though not a precedent-setting one, ANW stalwart Deborah Strang is Prospero. It’s an interesting choice, in that it redefines the parent-child relationship Prospero has with Miranda, the innocent daughter who will become the love interest of a young man tossed by Prospero’s magic onto the island’s shores. Still, though solid, it is not Strang’s finest performance, mostly because one expects more from someone that strong. The dependence upon magic and the gradual rejection of it, not to mention the internal war between revenge and forgiveness, would seem to give her a greater palate to work with than that which is is used.Aarn’s enslaved spirit, on the other hand, seethes with that odd combination of duty and desire for freedom. She enjoys her magic, yet chafes at the control over her life. The Elliots have chosen to have Geoff Elliot play the monster Calaban more as a grotesque human than as a truly monster-ish monster. It certainly makes his situation more pitiful, and the comedy which surrounds him more approachable. Alison Elliot’s Miranda proves as sweet and openly joy-filled as one could want, while Paul David Story’s earnest Fernando has the right kind of boyish charm to make the romance between them a sweet balance to the oddity of their environment.
Indeed, the rest of the company shipwrecked upon this strange place also offer up fine performances, especially William Dennis Hunt’s touchingly antique Gonzalo. One sometimes wishes they had more to do, as they spout long explanatory passages about the strangeness of their environment. Still, the silliness of Kasey Mahaffy’s Trinculo and Jeremy Rabb’s Stephano, as they get Calaban drunk, makes up for much of the rest.
Kudos to Peter Bayne for the fascinating original music – some of which sets Shakespeare’s lyrics – and the general sound design. Angela Balogh Calin’s costumes set this fantasy piece solidly in the “English gentleman” period of the late 1800s. The whole thing has an air of calypso about it, but a subtle one which suits the vagueness of Shakespeare’s location just fine.
In short, though I cannot say this is the finest rendition of “The Tempest” I have ever seen, I appreciate the way it establishes a sense of mystery, and the way in which things which have become Elliot signatures continue that “presence” as the ancient tale unfolds. And then, of course, I always like a chance to root for Ariel, waiting for her freedom as these silly mortals sort out their dramas.
What: “The Tempest” When: Through November 22 as part of their repertory season, 8 p.m. Oct 3, Nov. 1 and 22, 7 p.m. Oct. 26 and Nov. 16, 7:30 p.m. Nov. 6 and 20, and 2 p.m. Oct. 4 and 26, and Nov. 16 Where: A Noise Within, 3352 E. Foothill Blvd. in Pasadena How Much: Single tickets from $40, $20 for student rush Info: (626) 356-3100 ex 1 or http://www.anoisewithin.org