Review: The Tempest

A new semester heralds another batch of plays, the first of which is Joseph Bell’s production of Shakespeare’s last solo-written play, The Tempest. In a world that seems to straddle environs familiar and alien, it can sometimes be difficult to persuasively portray the atmosphere of the island. However, cast and crew should be commended for undertaking this challenge for our entertainment.

The production opened to a full audience with a scene high in energy and confusion as the storm after which the play is named wreaked havoc on board the ship carrying the cast. Thankfully, this was the only scene in which I had trouble hearing the actors, as words were shouted back and forth over the clamour of the thunderous wind. However, such issues are easily resolved. Indeed, in a culture that so often neglects the power of the voice to move audiences, it is refreshing to find a cast of actors who use their voices to their fullest potential.

This is a production studded with funny moments. In fact, these moments have a tendency to occur when Ed Fry as Trinculo, the jester and Baxter Gaston as Stephano, the drunken butler take center stage. Witty and chirpy with keen sense of matching an appropriate action to the joke, these two were a joy to watch.

While on the subject of humour, one feels that Olly Lennard (Ariel, a noble-hearted spirit) deserves an honourable mention. His portrayal of a curious and magical spirit who longs to understand human nature was simply spot-on. He is also a good enough actor to realise that Ariel’s innocence is a mine of amusement just waiting to be exploited. For my money, Fry, Gaston and Lennard’s performances were among the best I’ve seen in St Andrews.

In his director’s notes, Bell writes that this production has ‘attempted a leaner and simpler rendition’ of a play which is often staged lavishly. As anyone who has been to The Barron Theatre will know, there is only so much scope for a lavish staging of any sort of play. Though this is often lamentable, this production’s use of simple and elegant props allow the audience to concentrate on the most important part of the play: the words.

Shakespeare’s language is indulgent, but is never allowed to rollick out of control. Bell is fortunate to have a cast with the likes of Tyler Anderson (Caliban), Emily Hoyle (Lady Gonzala) and Tom Vanson (Prospero), since all three displayed exceptional ability with a difficult text. In terms of projection and articulation, their vocal talents in The Barron’s intimate acoustic made their characters all the more compelling.

Writing this the day after its first performance, I find my mind wandering back time and again to this production. On the balance of things, its merits are greater than its teething flaws.

At its heart, this is a play about forgiveness and the space that exists between an ending and a beginning; which is a pretty good place to start a new semester, don’t you think?

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