It is a strange experience to enjoy so thoroughly one aspect of a play and be left so cold by another. This polarising rendition of The Tempest, undoubtedly one of Shakespeare's most unusual plays, presented the best and the worst of Black Box Theatre.
What worked extremely well were the performances by Prospero and Ariel. What the actors - Richard Sails and Rebecca Charnley respectively - managed to capture is the duality of these characters. Prospero is both the stern ruler of his land and a kind father. Ariel is the tired and over-worked servant of Prospero and yet takes joy in her (in this case) playful magic. These performances did raise the level of this play to something quite worth the enterprise.
However, the set design failed to do much to support these admirable performances. Based on Fred M. Wilcox's Forbidden Planet, this "space age" retelling of The Tempest looked like a parody but felt sincere. The glossy plastic back drop of moons and Saturn (I think) was laughable and the swooshing sound effects that, one supposes, stand in for laser beams and energy fields were really unnecessary. The opening graphic sequence of flying through an asteroid belt really did not hit the right note - even though I'm sure there had been plenty of work gone into it.
Another less than accomplished aspect of the play was the comedy. The Tempest has lots of moments of hilarity and while the interactions between Trincolo, Stephano and Caliban (Jenny Collins (also playing Miranda), Mike Lockley and Ellie Trevitt) were suitably absurd, they lacked a clarity of execution that would have allowed them to really spark. They were a little messy and never really took off. There was also zero humanity in Caliban, which will always leave that character as nothing but savage.
It is potentially possible that since Derek Jarman made his film of The Tempest, there will never be a version to rival it. What Jarman so wonderfully captured was the sense of sexual threat, heartless imperialism of the domestic space and casual hatred that many of the characters have for each other. Of course this production is making no attempt to supplant Jarman's The Tempest, but to understand the subtle menace that is subsumed within this play is to bring it to a more nuanced and detailed level.
While this performance has many elements that are excellently well put together, it never coheres well enough to hold together. Neither parody nor homage, it sits awkwardly between good performances and ill conceived design.
- James Grogan
What worked extremely well were the performances by Prospero and Ariel. What the actors - Richard Sails and Rebecca Charnley respectively - managed to capture is the duality of these characters. Prospero is both the stern ruler of his land and a kind father. Ariel is the tired and over-worked servant of Prospero and yet takes joy in her (in this case) playful magic. These performances did raise the level of this play to something quite worth the enterprise.
However, the set design failed to do much to support these admirable performances. Based on Fred M. Wilcox's Forbidden Planet, this "space age" retelling of The Tempest looked like a parody but felt sincere. The glossy plastic back drop of moons and Saturn (I think) was laughable and the swooshing sound effects that, one supposes, stand in for laser beams and energy fields were really unnecessary. The opening graphic sequence of flying through an asteroid belt really did not hit the right note - even though I'm sure there had been plenty of work gone into it.
Another less than accomplished aspect of the play was the comedy. The Tempest has lots of moments of hilarity and while the interactions between Trincolo, Stephano and Caliban (Jenny Collins (also playing Miranda), Mike Lockley and Ellie Trevitt) were suitably absurd, they lacked a clarity of execution that would have allowed them to really spark. They were a little messy and never really took off. There was also zero humanity in Caliban, which will always leave that character as nothing but savage.
It is potentially possible that since Derek Jarman made his film of The Tempest, there will never be a version to rival it. What Jarman so wonderfully captured was the sense of sexual threat, heartless imperialism of the domestic space and casual hatred that many of the characters have for each other. Of course this production is making no attempt to supplant Jarman's The Tempest, but to understand the subtle menace that is subsumed within this play is to bring it to a more nuanced and detailed level.
While this performance has many elements that are excellently well put together, it never coheres well enough to hold together. Neither parody nor homage, it sits awkwardly between good performances and ill conceived design.
- James Grogan
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