The tempest tries to brew up a storm . . .
. . . but ends up exuding a ‘very ancient and fish-like smell’
JANE WALKER
PHOTO: COURTESY OF ODYSSEY PHOTOGRAPHY, MTC
William Shakespeare’s The Tempest is a play that defies classification. It is part comedy, adventure, romance and magic show. It was the magic I was most excited to see on Thursday night, as I waited for the curtain to rise on the Manitoba Theatre Centre’s first production of the season. I hate to say that I left the theatre feeling un-enchanted.
Shakespeare begins his play with a violent storm conjured by the vengeful Prospero (here played by John Bourgeious), which causes the shipwreck of his brother Antonio, his son Ferdinand, Alonso (the King of Naples) and Sebastian (Alonso’s brother). Although the crashing thunder, flashing shadows and looming fog were impressive to look at, the booming effects often drowned out the actors’ voices, which drained energy crucial to the opening scene.
In the next, more peaceful setting, we are introduced to Prospero, who explains that he was the Duke of Milan until his brother Antonio, conspiring with Alonso, usurped his position. He then banished Prospero and his daughter Miranda (played with hyper-emotion by Daria Puttaert), and abandoned them at sea where they landed on the remote island they have inhabited for the past 12 years. They have survived only because Antonio’s servant Gonzalo had given Prospero money, clothes and his sorcerer books. During his time on the island, Prospero studies these books and becomes a powerful magician.
Director Steven Shipper writes in his opening message that “Prospero has powers we can only dream of, and willpower to make the strongest among us buckle.” Unfortunately, the power that Shipper writes of never comes across. Actor John Bourgeois’ physical portrayal of Prospero is as stiff and wooden as the staff he waves around the stage. Although Bourgeois’ vocal performance is impressive and well articulated, his vocal gymnastics disconnected him from the inner life of Prospero, which denies the audience access to the power of his rage, love, compassion and vengeance.
Another key to Prospero’s power is Ariel (played by Mairi Babb), the sprightly servant he saved from a witch named Sycorax who imprisoned the spirit in a tree. Ariel performs magical deeds for Prospero in exchange for her freedom. Babb is charming as the spirit, particularly when she sings. Although I would have liked to have seen her take more risks physically, she was able to communicate Ariel’s inner conflict between her desire for freedom and an obvious adoration and devotion to Prospero. In one particularly effective moment, Babb gazes thoughtfully at the lovers then slowly shifts her look longingly to Prospero silently conveying her affection for her master.
Babb emotes more in one glance than Miranda and Ferdinand (Peter Mooney) are able to communicate in the entire play. As the lovers brought together by Prospero’s magic, Mooney and Puttaert lacked chemistry. Like Bourgeois, their voices were pleasant to listen to, but they took no risks with their performances.
Standing out in The Tempest was the comic duo of Trinculo and Stefano. Matt Kippan and David Warburton are delightful as the jester and the drunken butler. As the comic foils to the powerful Prospero, their drunken bragging and petty selfindulgences hilariously reflect the ridiculousness of the power struggles between the characters.
Also standing out was the University of Manitoba’s own Jeff Strome as Francisco, who held his own with the comic villains Sebastian (Graham Ashmore) Antonio (Peter James Harworth) and Alonso (Chris Sigurdson).
Unfortunately, Bourgeois’ performance leaves a gap in the play that the other members of the cast are not able to fill. He is so deprived of an inner life that the magic was lost from his performance and, ultimately, the entire play.
