April 5, 2003 |
From the very beginning, the production of The Tempest by the Lantern Theater establishes that the play belongs to Prospero. Before the first scene's storm, we see Prospero sitting on a sort of natural throne built into the top of the hill suggested by Nick Embree's earthy, vine-covered set. From his perch, Prospero looms over the compact St. Stephen's Theater playing area, providing a strong visual reminder that nothing will occur in the play...
November 7, 1995 |
During the fearsome storm that sets the events of Shakespeare's The Tempest in motion, the new production at the Broadhurst Theatre suggests the raging sea with yards of billowing blue fabric deployed by a quartet of stilt- walkers. And off to one side, holding a script and fully visible to the audience, an actor rattles the sheet of pliable metal that simulates thunder. Thus we're immediately alerted to how director George C. Wolfe will relate the story of Prospero, the exiled duke of Milan, and the old enemies the duke has caused to be shipwrecked on his magical island.
March 29, 2006
A March 24 letter, "Where he belongs," by Nikola Sizgorich included an incorrect e-mail address for the writer. Sizgorich does not want her e-mail address published. Yesterday's Commentary page contained incorrect information about a column's author. Mark Franek's Web page address is http://webclass.penncharter.com/prospero/.
July 25, 1990 |
Pastorius Park in Chestnut Hill is a lovely setting for the productions of the company known as Shakespeare in the Park. The sloping terrain around the park's languid waterway, contained and crossed by picturesque stone walls and bridges, provides both a natural amphitheater and a delightful place to spend a couple of hours on a summer evening. On one hand, the relaxing, sylvan ambience of the park enhances the gentle, romantic, humorous aspects of The Tempest, the company's current Shakespeare presentation.
October 12, 1994 |
Eric Hill perceives Shakespeare's The Tempest as taking place in the mind of Prospero. The primary character imagines everything about the play - even, in a way, himself. Hill's Temple University Theaters' production opens with Miranda, Prospero's daughter, lying on the stage reading a magazine and listening to rock music, a Princess phone at her side. Prospero, who is on stage virtually throughout the play, spends a great deal of time in his overstuffed chair, which if it is not contemporary, is at least 20th century.
October 4, 1991 |
Stagecraft is the star of La Tempestad, the adaptation of Shakespeare's The Tempest that runs at the Zellerbach Theater through tomorrow. But even a star requires a bit more support than this interesting but somewhat schizophrenic production provides. The creation of Venezuela's Compania Rajatabla, La Tempestad is performed in Spanish with simultaneous translation, available through headphones. This reviewer used the translation. It would have been better if he spoke Spanish, but then it also would have been better if the production spoke Shakespeare.
July 29, 1995 |
Great ideas come in pairs, don't they? With Mettawee River Theatre Company's production of Shakespeare's The Tempest - including puppets - you might argue they've scooped George C. Wolfe's Tempest, the current Shakespeare in the Park offering in New York with puppets in the supporting cast. But surprisingly, given that the Mettawee River performers staged the show Thursday for the week-long Puppeteers of America Festival in Bryn Mawr, their use of puppetry was quite restrained, confined to only two scenes in the play.
January 28, 1993 |
No thunder and lightning, no alarums and hullabaloo attend the conjured shipwreck at the start of Shakespeare's valedictory masterpiece, The Tempest, in the revelatory Arden Theatre Company production that opened Tuesday for a month-long run. No shipwreck, in fact, is set before us - just a toy schooner, bobbing high above Hiroshi Iwasaki's draped and platformed set, that crosses from right to left until it is gently, silently plucked from its...
November 13, 1992 |
Actors From the London Stage - the group presenting The Tempest at the Annenberg Center - believe, according to a program note, in the "power of Shakespeare's words in performance, and in the rich possibilities created by the imaginations of a participating audience. " To that end, the troupe, which has been visiting here regularly for several years, presents Shakespeare with no sets, no costumes, rudimentary stage lighting, a prop here and there, and five actors doubling and tripling in roles.
June 25, 2012 |
Strong acting and bold direction too often overshadow the work that a design team contributes to a play's success. In the Pennsylvania Shakespeare Festival's staging of The Tempest, the designers provide all the elements that make this production memorable. Not that the actors and director Jim Helsinger don't uphold the Festival's high standards. Greg Wood delivers a compelling, sympathetic performance as Prospero, the deposed Duke of Milan exiled for 15 years on a remote island with his daughter Miranda (the earnest and endearing Kelsey Formost)