By David Gordon
As Prospero says in “The Tempest,” the last play Shakespeare wrote by himself, “we are such staff as dreams are made on and our little life is rounded with a sleep.” Who knew that the drama department’s production would take that act four quote literally?
While James J. Kolb’s production contains solid performances all around, including by its star, drama professor Peter Sander, it is laboriously slow. In fact, were it not for Bethany McNamara and Steven Spera’s performances as the two central lovers, the production would almost be gloomy.
“The Tempest” is considered to be a “late romance,” a classification given to his last few plays, which contain a plot about redemption and a happy ending where family members reunite and forgive one another for wrongdoings that have occurred. Prospero (Sander), rightful Duke of Milan, has been exiled to a deserted island with his daughter, Miranda (McNamara), after having his throne usurped by his brother, Antonio (Richie Pepio).
Prospero taught himself magic and has subsequently freed Ariel (Casey O’Keefe, Laura Henry). When the play begins, he conjures up a tempest to strand Antonio and the other lords on this island. He brings Ferdinand (Speara), the King’s son to Miranda and they fall in love.
Kolb had two real radical ideas for this production: double-casting the role of Ariel, to create “light” (O’Keefe) and “dark” (Henry), as well as casting a woman (Lily Goodman) in the male role Caliban, Prospero’s slave. While the second idea works, the former, purely a theatrical device, is extremely unnecessary.
The synchronicity between O’Keefe and Henry is gob-smacking, though there’s no discernible distinction between “light” and “dark,” (especially as costumed by Pei-Chi Su, whose designs range from gorgeous to ghastly).
Goodman fits as Caliban, and her scenes, also featuring Kyle Cheng as a drunken butler and Paul Tiesler as a jester, are the most entertaining of the production.
There’s also a lengthy dance in act four (the middle of this production’s second half), choreographed by Samantha Amaral. The necessity of its inclusion divides audiences. I have no problem with it and rather enjoyed their interpretation of the scene
Costumed in an amazing technicolored dream coat (one of Su’s better designs), Sander is a commanding presence on stage and is at his best in the last act.
Unfortunately, there are a number of points when he falls victim to the terrible acoustics of the Adams Playhouse and the only thing you can hear are echoes of sounds.
As his daughter and her soon-to-be lover, Miranda and Ferdinand, McNamara and Spera are utter delights. The presence of Antonio and the Lords, stranded on the island after Prospero’s tempest, slows the production down immeasurably.
.As for the physical production, Jim Hart’s lighting is very appealing; David Henderson’s set, a massive island on a turn-table, looms over the proceedings. The cast navigates climbing all over it admirably, though Sander looks noticeably shaky.
The play opens with Prospero’s tempest. The orchestra pit sinks to represent the Lords’ ship sinking. The problem is that the pit sinks (and rises) far too slowly to be effective. Effects that could be jaw-dropping end up to be ho-hum.
“The Tempest” plays Friday and Saturday, March 13 and 14, at 8 p.m. and Sunday, March 15 at 2 p.m. in the Adams Playhouse.