The Tempest 2
Off to see 'Peter and Alice' on Saturday but today was my second viewing of The Tempest at The Globe theatre
I still enjoyed it because of Colin of course and other elements, but this viewing did confirm that it is not an adaptation of the play that I think is wholly engaging. The Tempest is one of my least favourite plays for a start. But there are layers to it that are seriously interesting should a director choose to delve there. My masters degree was in Shakespeare, my tutor oddly enough being one David Lindlay who is this years' Sam Wannamaker fellow at the Globe. Professor Lindlay taught me in my MA about viewing The Tempest as a portrayal of 'the other' at a time when new world's were being discovered and empires being forged. Caliban and Prospero's relationship is particularly enlightening with this in mind. However, this production doesn't go there, or really go anywhere. I come out of it having seen a very 'at face value' rendering. There has been no deep reading of the text, only an exploitation of the comedy and the physicality of it. Which is not necessarilly a bad thing, but to me for the play to become interesting it needs a deeper element, a hidden layer.
The comedy does work brilliantly, especially in the relationship between Miranda and her husband of three hours (both portrayed excellently) and the buffoonery between the butler, Caliban and Trinculo. Colin and the whole courtly dance scene is wonderful too and there are lots of enjoyable moments. But for me the majority of these moments happen in the second half. The first half is a little dull. I think this is more the fault of Shakey than the director though, to be fair. It is a first half of exposition and scene-setting. The second act is much more lively.
But the main problem for me is, and I'll whisper this...Roger Allam. He's a great actor, great comedian but for me, not a great Prospero. Again, he's too comedic and doesn't give the part the gravitas I desire from Prospero, the edge of cruelty and bleakness that is present in his character.
Colin remains wonderful. And that is not just the favouritism talking I promise! He is an amazing actor and you can tell he particularly finds his element on stage. I had a great seat on my first viewing and on this one even better. Dead centre, second row. Best seat in the house. And seeing a matinee meant that the light was different as well as the less restricted view. I saw more detail and more expression. I saw the subtleties of Colin's expressions that I didn't see before and all manner of wee details that were interesting. I still think their choice of what to do with Ariel at the end of the play is not well executed, but that is the direction and staging rather than the acting. I did notice that the role of Ariel was hugely less physical this time round than on the opening night. He no longer rollypolleyed, somersauted or climbed around the pillars, although he still cartwheeled and swung. There was not so much joy in the final curtain call dance either, but I think that may have been to do with the audience today who were less proactive than on the first night I went and created less of an atmosphere.
I have a few more viewings to go and I'll go for Colin of course because he's my future boytoy, but I can't say I'm looking forward to it because of the play itself. I didn't stage door because I was alone an d had nothing to sign, but I may try next time I go.
I still enjoyed it because of Colin of course and other elements, but this viewing did confirm that it is not an adaptation of the play that I think is wholly engaging. The Tempest is one of my least favourite plays for a start. But there are layers to it that are seriously interesting should a director choose to delve there. My masters degree was in Shakespeare, my tutor oddly enough being one David Lindlay who is this years' Sam Wannamaker fellow at the Globe. Professor Lindlay taught me in my MA about viewing The Tempest as a portrayal of 'the other' at a time when new world's were being discovered and empires being forged. Caliban and Prospero's relationship is particularly enlightening with this in mind. However, this production doesn't go there, or really go anywhere. I come out of it having seen a very 'at face value' rendering. There has been no deep reading of the text, only an exploitation of the comedy and the physicality of it. Which is not necessarilly a bad thing, but to me for the play to become interesting it needs a deeper element, a hidden layer.
The comedy does work brilliantly, especially in the relationship between Miranda and her husband of three hours (both portrayed excellently) and the buffoonery between the butler, Caliban and Trinculo. Colin and the whole courtly dance scene is wonderful too and there are lots of enjoyable moments. But for me the majority of these moments happen in the second half. The first half is a little dull. I think this is more the fault of Shakey than the director though, to be fair. It is a first half of exposition and scene-setting. The second act is much more lively.
But the main problem for me is, and I'll whisper this...Roger Allam. He's a great actor, great comedian but for me, not a great Prospero. Again, he's too comedic and doesn't give the part the gravitas I desire from Prospero, the edge of cruelty and bleakness that is present in his character.
Colin remains wonderful. And that is not just the favouritism talking I promise! He is an amazing actor and you can tell he particularly finds his element on stage. I had a great seat on my first viewing and on this one even better. Dead centre, second row. Best seat in the house. And seeing a matinee meant that the light was different as well as the less restricted view. I saw more detail and more expression. I saw the subtleties of Colin's expressions that I didn't see before and all manner of wee details that were interesting. I still think their choice of what to do with Ariel at the end of the play is not well executed, but that is the direction and staging rather than the acting. I did notice that the role of Ariel was hugely less physical this time round than on the opening night. He no longer rollypolleyed, somersauted or climbed around the pillars, although he still cartwheeled and swung. There was not so much joy in the final curtain call dance either, but I think that may have been to do with the audience today who were less proactive than on the first night I went and created less of an atmosphere.
I have a few more viewings to go and I'll go for Colin of course because he's my future boytoy, but I can't say I'm looking forward to it because of the play itself. I didn't stage door because I was alone an d had nothing to sign, but I may try next time I go.