CSC’s "Tempest": More Light Shower Than Stormy Weather

SHOW INFORMATION:  Through July 13.  The Tempest will be performed on: June 20, 28, 29, July 4, 5, 11 and 13.  Fri – Sat at 8PM, Sundays and July 4 at 5PM.  Tickets are$25, general, $22 Seniors, all children free.  Tickets: 866.811.4111 or www.chesapeakeshakespeare.com.  Information: 410.313.8874 

◊◊ 1/2 out of five.  2 hours, 20 minutes, including intermission.

 

Perhaps it is time to acknowledge that even though he was a master, William Shakespeare was not hitting a home run with every play he wrote.  I think critics, me included, are often reluctant to criticize the Bard.  But I must in this case.  The Tempest, which opened this past weekend at the Chesapeake Shakespeare Company's annual "in the Ruins" Repertory (The Comedy of Errors, not reviewed here, is the other play this season) is one that I take great issue with.  First, it is one of those plays in the canon that is not really a comedy, definitely not a history, and not a tragedy.  True, it has its moments, but the chief problem with the play is that about 85% of it is exposition, where the characters tell us of astonishing events that have happened in the past or just offstage before we are told about it.  And with a two hour plus running time, that is an awful lot of listening and imagining, while having very little to look at.  The vast majority of the problems with this production lay squarely at old William's feet. 

The rest of the problems, oddly enough, come from the one member of the CSC that has, in my opinion been batting a thousand over the past three years.  That person is director of The Tempest, Patrick Kilpatrick.  It literally shocks me to have anything negative to say about one of this area's finest talents onstage or off.  And if anyone who directs the classics locally could overcome the blah script, it would be Mr. Kilpatrick.  How disappointing then to report that, aside from a fantastic opening scene in which we see Prospero and his spirit sidekick, Ariel, create a storm that shipwrecks several boatloads of people, the rest of this play is almost uniformly static.  Long passages of monologues and dialogues are done center stage with little or no blocking.  What movement there is seems mostly of the walk across the stage and exit variety.  To be completely fair, as I sat watching, I couldn't think of a better way to do it for the most part, either.   

Given the magical element (there are a band spirits and a half human creature among the cast) that pervades the story, there is very little in the way of stage magic created.  In fact, that band of spirits, who move silently among the human visitors to this Mediterranean isle, becomes increasingly cliché and decreasingly interesting as the evening rolls on.  Most of the time, Mr. Kilpatrick has them enter as one regimented group from one side or the other, and they, as a pack, move across the stage staring at the humans and the audience with looks that suggest wax figures more than interest, only to exit on the other side.  I suppose their presence is meant to highlight some meaningful passages, but if that is the case it wholly ineffective. On the occasions where they actually interact with the humans they are marginally more interesting, but they aren't nearly as mysterious or thought-provoking as they appear to think they are. 

Technically, the show is also remarkably bland.  Perhaps as the production photos for The Comedy of Errors suggest, the lion's share of budget went to that play.  Save for a rock that gets shoved around the stage once in awhile, and an oversized box that takes up a good portion of the upstage space, there is not a whole lot to look at on Dave Eske's set.  The same can be said of his lighting, though a flourish of festive color at the end of Act One elicits a well-deserved "ahh!" from the audience.  Master costume designer Kristina Lambdin is also far less than at her best here, though her period costumes offer an interesting nod to the less fortunate shipwreck victims of the Titanic.  Her tunic-like gauzy outfits for the spirits are as interesting as they are – if you find beige gauze cut into strips interesting.  Ian Gallanar's sound design is, however, spot on – stormy, magical and mystical, at least when you can hear it.  More often than not, the sound is so low, you start to wonder if the characters (and we) are imagining all the sounds described in the tedious script. 

Still, going back year after year to this wonderful venue is a treat, even when the show itself is less so.  It reminds me of an annual family reunion picnic, where it is nice to get reacquainted and feel instantly familiar.  And like such occasions, CSC has its share of regulars and exciting new talents.  Here, that is of paramount importance, because, despite the weak script and less than dazzling direction/production values, there are a lot of good things going on.  The cast is uniformly good, and commands the attention of the audience even when what they are saying is less than intriguing.  With a couple of exceptions (much like the annoying aunt that everyone tolerates) everyone is a welcome sight on that stage. 

Heading the company is the magnetic performance of Michael Sullivan (A local and CSC regular), whose commanding delivery of what amounts to reading a laundry list is remarkable.  He is just the kind of actor a play like this needs – you are riveted by his very presence, no matter what he does.  Much the same can be said for the newest CSC member, Annie Grier, making her debut as the innocent daughter of Prospero, Miranda.  Much to Ms. Grier's credit, she is neither saccharine sweet nor helplessly naïve.  She plays this virginal role with an edge and an interesting combination of wide-eyed wonder (she sees her first humans!) and steely knowledge (she instinctively knows a man may offer romance and love, but get to know him first!).  Together, Sullivan and Grier make a captivating central pair to care about. 

CSC regular, and always a jewel, is Ashly Ruth Fishell who plays Ariel.  Time and again, Ms. Fishell delivers Shakespearean performances that are the hallmark of a CSC production.  Her readings display a remarkable command of the language as written, with a superior ability to make the readings full of modern interpretation.  Here, she offers the shows only really magical magic moments.  When she leaves the stage, you find yourself looking forward to her return.  Another CSC regular with a definite flair for bringing Shakespeare to the masses is Wayne Willinger, who takes on another intriguing supporting character as the half-human manipulator, Caliban.  Hunched and wild-looking Willinger disappears into the character and leaves us richer for the experience.   

Among the more interesting performances on the "human" side are Jenny Leopold's commanding Gonzalo and Gregory Burgess's confused Alonso.  Jamie Hanna's Stephano threatens to steal the show with his charismatic performance as Alonso's butler, and Colby Codding holds up well during a long segment where he must match Mr. Willinger's dynamics, though it seems he wrestles with the fact that he is a jester, but he isn't given anything remotely funny to say.  Finally, Shaun Gould, a rising young actor in the Baltimore area, really comes into his own as the love struck Ferdinand.  His gaping large eyes ogle his love with a zany zeal that is equal parts dumb-struck, lasciviousness, and commanding maturity.  Watch out for this actor – he is going places.  Of course, every family reunion has its annoying relative, and in the case of The Tempest, that comes in the personage of Frank Mancino, who gives the kind of performance generally reserved for the school stage, so literal is it.  When he is shocked, he gasps and puts hand to mouth.  When he is sad, he sighs heavily and shakes his lowered head with such vigor the move could be seen from a mile away.  But what is most disturbing is his constant pulling of focus while others have the scene.  Case in point: we are at the final denouement, and there he stands, twirling a silver shiny thing on a string and rocking back and forth on his heels.  And while this is not Mr. Kilpatrick's finest achievement, I find it hard to believe he would have directed this (and about a half dozen other bits) to happen. 

So, the performances far outweigh the negatives of the show, making a trip to Ellicott City's historic ruins a necessity.  Reacquaint yourselves with old friends, grab a picnic basket, a bottle of wine and enjoy.  You may not leave feeling like you've weathered a storm, but you will feel good for having survived a pleasant summer shower.

 

PHOTOS by Kitty R Photography:  TOP to BOTTOM: Annie Grier and Michael Sullivan; Wayne Willinger and Jamie Hanna; and Annie Grier and Shaun Gould.

 

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