University Productions made certain to let the millennium go out with a bang, in the form of a thunderclap. The organization's stormy production of Shakespeare's "The Tempest" brews a potent combination of spectacular effects and marvelous acting.
The production unites local artists and faculty members with students in a fantastic tribute to the end of the millennium. Each actor's performance reflected that professional standard of excellence, from the gasping exertions of Law Prof. Emeritus Beverley J. Pooley's character Gonzalo after a hike to the minor movements of dancer Peter Sparling's fingers as he danced the part of Prospero's spirit. Director Philip Kerr's attention to detail shined through in every scene.
"The Tempest" provides a unique opportunity for students to witness the talents of the faculty, many of whom have extensive professional firsthand experience. Kerr portrayed the lead Prospero in addition to directing the show. His past experience served him well, especially in his capacity to articulate the Shakespearean language well enough for even those with little exposure to understand. He made Prospero's pregnant glances at his daughter and brother full of meaning, adding to the character's aura of mystical power.
Audience attention focused on Prof. John Neville-Andrews and Prof. Malcolm Tulip in their comedic roles as the butler Stephano and Trinculo, the jester. The two cavorted about the stage in mismatched clothes, dancing drunkenly and performing somersaults.
The younger actors lived up to the level of talent surrounding them. Senior Julia Siple, as Prospero's daughter Miranda, focused on all of the awkwardness inherent in a young lady who cannot remember what it is like to live in civilized society. Tramping around in galoshes, Siple's Miranda frequently twisted her hands in a true display of shyness. Alongside Siple, junior Maclain Looper portrayed Ferdinand, the prince of Naples, delivering fire in his passionate speeches and a singlemindedness to his character.
Kerr showcases this talented cast with a unique twist on the setting. As the audience members took their seats, the cast was already on stage, reenacting a rehearsal, complete with actors portraying the crew members and the actors drinking and talking on cell phones.
The shock came when this rehearsal turned into the play. Sitting around a table reading through the first scene, the actors began to emulate sailors. Tulip added to the effect by spraying the cast with his water bottle. The rehearsal read through the prologue, featuring the famous thunderstorm, and underwent a metamorphosis as the laser light show began, allowing the crew to roll out the astonishingly realistic set of a rocky beach.
Prof. Rob Murphy's fantastic lighting and set designs placed special emphasis on the supernatural aspects of Shakespeare's story. In combination with whirling blue and red spotlights, green lasers brought treacherous thunderstorms to life. Black lights and strobe lights heightened the impact of the sound effects used to punctuate magical spells as well as thunderstorms.
The sprite Ariel, played by sophomore Margaret Smith, benefits the most from these sequences. As the androgynous sprite berates its master's enemies, wearing pointed gauze wings, the scene's intensity increased to a breaking point due to the red strobe lights and screeching sound effects.
The show also incorporates other art forms, including modern dance and chorale singing by the three goddesses, which didn't match the level of excellence found in the acting. Prof. Peter Sparling choreographed a strong sequence for the three spirit dancers portraying Prospero, Miranda and Ferdinand, but the resulting performance lacked unity between the performers, though each danced well. Prof. Joan Morris, Kerrytown Concert House founder and local resident Deanna Relyea and senior Dara Seitzman sang together as the three goddesses but here, too, the final product lacked cohesion. Each sang in a different style, with Seitzman displaying, by far, the most talent.
In spite of this, "The Tempest" finds an overall unity in the professional quality of the performance. Kerr's brilliant interpreation of "The Tempest" transformed a simple theater and cast of actors into a magical world isolated from reality in just the way Shakespeare would have wished for his last great work.
12-10-99
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