Shakespeare’s Tempest
Artists Repertory TheatreFresno, California, USA
www.calartsacademy.com
120 minutes
Rated: PG-13
Latecomers within 15 minutes
Artists' Repertory Theater sets sail with a variety of creative performers as they explore the theatrical possibilities of Shakespeare's final play ‹the Tempest ‹ and illuminate this elusive work. Brave the Sea of Suggestion
to journey into a world of revenge, forgiveness, absolution, greed, freedom, music and spectacle ‹ all on the isle of your imagination.
February 23, 24 7:30 pm Feb 25 2:00 pm
March 2,3,9,10 at 7:30 pm March 4 2:00 pm
$10
$10 Adult Sen/Stud $5 Advance, $12 & $6 at the door
Fri. March 2, 7:30 PM
Sat. March 3, 7:30 PM
Sun. March 4, 2:00 PM
Fri. March 9, 7:30 PM
Sat. March 10, 7:30 PM
Performed at
California Arts Academy
4750 N. Blackstone Ave.
Review this show.
$10 Adult Sen/Stud $5 Advance, $12 & $6 at the door
Fri. March 2, 7:30 PM
Sat. March 3, 7:30 PM
Sun. March 4, 2:00 PM
Fri. March 9, 7:30 PM
Sat. March 10, 7:30 PM
Performed at
California Arts Academy
4750 N. Blackstone Ave.
Review this show.
Labels: byo, cal art, march 10, march 3, march 4, march 9, march2, rated pg 13, theatre
3 Comments:
Wow! I saw The Tempest Saturday night (March 3) and was impressed by several facets of director Adam Meredith's production:
1. The technical design: when you read Shakespeare's script as a director, you have to concieve of a way to handle the character of Ariel - who is a spirit sometimes visible to other characters, and sometimes not. The ART production has handled this challenge with a low-budget (don't read that as un-clever!) yet visceral solution (don't want to give too much away!) that renders that hurdle insignificant. In almost every aspect, from sound, costume, to lighting, to a wonderfully evocative set - the company wrings every ounce of "oomph" from a small space and small budget. The whole design team (as they are credited in the program) deserve recognition for bringing a difficult play to vibrant life.
2. Jennifer Hurd-Peterson is fantastic in the role of Prospero. I was concerned that I would be distracted by a woman playing a character textually-rooted in fatherhood (the play concerns "lost" fathers and sons to a significant degree)but it wasn't even a issue. The casting actually raised some interesting questions that having a male actor wouldn't have. And Prospero's exacting yet ultimately forgiving character arc was painted broadly by Jennifer Hurd-Peterson with perfect flourishes of humor, rage, and pain.
3. The director's concept to highlight the "revenge play" aspect of Shekespeare's play works. People talk a lot about the Tempest in terms of its magical elements - they focus on the sorcery more than the story behind it. But in the end, the play is really about the urge for revenge, and the price it takes on the seeker of that revenge. That focal point was abundantly clear through the play's use of flashback, and the staging of the final scenes of absolution.
I think the play is on for another week - if you enjoy seeing the bard's plays, you need to not miss this Tempest.
I sat through The Tempest and was amazed, not just with the production quality, but with the rapt attention paid by fellow attendees of varied ages. Adam Meredith has created an intriguing and audience-friendly Tempest, with stunning special effects and performances that transcend dialogue.
The tale's inherent mysticism and drama are punctuated by Shakespeare's clever addition of "Commedia dell'Arte," with riotously funny scenes between two stranded (and progressively drunken) shipmates and the island's resident half-man/half-sea monster as they conspire in a lofty, yet bumbling, plot to overthrow the play's protagonist.
We, too, were amazed at the stunning visuals of "The Tempest." Adam Meredith and Ben Holley collaborated beautifully and the result was a lush production that stirred the senses. Austin Frost's music added to the sultry atmosphere and Debora Bolen's costumes provided an exquisite professional touch.
We were rather disappointed by some of the performances, however. This cast has some great local talent, including Tom Janecek and Luis Ramentas; unfortunately it didn't seem that these stellar actors were used to their full potential. We thought the idea of casting Prospero as a woman was intruiging, though the reasons for it were lost on us. We would have liked to have seen Jennifer Hurd-Peterson act as more of a mother lion with Miranda; The mother-daughter connection simply wasn't evident.
The performances of Hal Bolen, Michael Peterson and Brett Gipson were outstanding and, easily, the most memorable.
In all, ART is to be commended for bringing the Bard's last play to life.
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