Theater Review
With the help of a fairy and a monster, one man manipulates the strange events that occur on an enchanted island in William Shakespeare’s ‘The Tempest,’ on stage at the Morgan-Wixson Theatre in Santa Monica. Prospero, a former duke-turned-magician, punishes his usurping brother, arranges his daughter’s marriage and finds release from the spirit-infested isle, all with the wave of his magic staff. Most remarkably, Prospero orchestrates everything with hardly any questions asked. And when his daughter Miranda does pipe up to question her father’s reason for raising the sea storm that sinks a ship of ‘precious souls,’ he quickly puts her to sleep so as not to disturb his crafty plan. Directed by Lewis Stout and produced by Polly Petersen and Saul Saladow, ‘The Tempest’ raises more than just a storm; it asks the audience to consider whether one creature’s struggle for power is more worthy than another’s. It also poses the question of whether Prospero abuses his power for noble or selfish means. The intriguing Santa Monica Theatre Guild production, which runs through May 28, has a distinctly modern tone. Think ‘Gilligan’s Island’ meets ‘Survivor.’ Women play four of the roles written as and traditionally performed by men: Alonsa, Queen of Naples; Sabatini, her sister; the Abbess Gonzala and servant Trincula have strange, moody and kooky personalities that clash when they arrive, sea-blown, on the island. The preliminary scene of their ship caught in the storm is particularly well-directed’the characters stand in pairs across the multi-level stage, their swaying bodies moved by the powerful winds. However, it’s a bit difficult to make out exactly what is being shouted as the ship sinks. The relationships between characters and their manner of speech also seem geared towards a more contemporary audience. For example, the servant Stephano (Jon Monastero) at times speaks in modern, street-slang rhythms as he initiates drunken revelry with his companion Trincula (Courtney Fine). Miranda sounds very much like a lovelorn teenager when she pleads with her father to be gentle on Prince Ferdinand (John Fabricant), Alonsa’s son and the second man Miranda’s ever seen. Prospero (Jack Winnick) is, on the one hand, a desperate father struggling to give his daughter a good life, which means reaffirming her royal status and freeing them from the island they’ve been stranded on since she was a baby. On the other hand, he is a scheming magician seeking revenge on his brother Antonio (Donald Heath) and Queen Alonsa (Susan Stangl) who, 12 years earlier, set them on a boat to die. Prospero’s appearance in a fall-colored patchwork robe, shawl of shells and sparkling staff is much less threatening than some of his actions on the island. His harsh treatment of Caliban (Andrew Wei Lin), the ape-like monster whom he shuts away in a cell within his cave dwelling and uses as a slave, reflects his desire to maintain some form of control and hierarchy. In the role of Prospero, Winnick is convincing as both a protective, controlling father and a pathetic but vengeful ex-leader. His scenes with Raegan Payne, who plays Miranda, are humorous in revealing his character’s inner conflict between protecting his daughter from her past and telling her the truth about her origins. Payne gives a strong performance as the innocent and curious Miranda, whose free-spirited girlish nature makes her lovable though naive in her quick commitment to Ferdinand. One of the best performances is by Juliette Storace in the role of Ariel, the cunning sprite who finds pleasure in creating chaos for Prospero, though what she really wants is freedom from any master. A vision in gold and chocolate bronze, Storace charms us with her lovely voice when she is not leaping around the stage, luring the shipwrecked characters here and there. Two visually enticing scenes occur back to back’a haunting banquet that fools and frightens Prospero’s oppressors, and a glorious masque, or pageant, that features local opera and dance talent. Kudos to the creators of the giant, purple winged monster that storms the stage during the banquet, a fiery vision and amazing technical feat. These scenes are probably juxtaposed to emphasize the contrast between the punishment of Antonio and Alonsa and the happy, impending marriage of Miranda and Ferdinand, though arranging them so close together is a bit of a sensory overdose. The masque is written and directed by Tara Redepenning, with original music and musical direction by Darin Goulet. It is truly a treat to see the young Rainbow Messenger Ballet Dancers perform (choreography by Richard Culler) and to experience the sweet sound of the Masque Character Chorus, decked in sparkling masks and shimmering gowns (costumes by Anne Gesling). This mystical production of ‘The Tempest’ also has a permanent backdrop that changes color throughout the show, which enhances the dream-like atmosphere (lighting by Kate Barrett and set design by Lewis Stout). When all is said and done, Prospero relinquishes his staff as a sign that he is stepping down from his position of power on the island. However, it also feels as if he is an impresario, saying goodbye to his audience after conducting his own empowering and enchanting vision. Performances run Fridays and Saturdays at 8 p.m., and Sundays at 2 p.m. at the Morgan-Wixson Theatre, 2627 Pico Blvd. For reservations call 828-7519.
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