The Tempest at the Stratford Shakespeare Festival

William Hutt as Prospero in the 2005 Stratford Festival production; the poster hangs in our study

Before we get to this year’s Tempest [summer 2010], we hark back to Stratford, Ontario in August 2005, where we saw what turned out to be one of the last stage performances of the late William Hutt. We remember it well. 

Late in the first act of The Tempest, Mr. Hutt, as Prospero, had thoroughly captivated his daughter Miranda (and the rest of us) with the story of how he had been supplanted as Duke of Milan by his treacherous brother Antonio and how Prospero and Miranda had been exiled to their Mediterranean island. Then, after charming Miranda into sleep, Prospero summoned the spirit Ariel to report on the seastorm she had conjured up to bring Antonio and his traveling companions to the island.

Christopher Plummer as Prospero in the Stratford Festival's 2010 production

Emsworth’s companion five years ago was his son; the night before, we had seen Cat on a Hot Tin Roof.  We were riveted by Mr. Hutt’s performance. With his musical voice and expressive, perfectly timed pauses, he made Elizabethan English seem as easy to understand as Dr. Seuss.

Unfortunately, our son, still a college student, was suffering from a summer cold. We armed him with cough suppressants. But when Mr. Hutt took one of his trademark pauses, in the course of reminding the ungrateful Ariel how she had been liberated from the hag Sycorax, the breathless silence in the Festival Theatre was broken with a loud cough from the third row, stage left.

Mr. Hutt seemed not to hear or notice, and we waited for him to go on. But the 85-year old actor kept holding his pose. The pause lengthened; audience members began to glance at one another. After half a minute, we heard a low female voice say a few words from under the front of the stage. Mr. Hutt took a breath, changed his pose, and delivered the line he had been given by his prompter. The performance resumed.

Our son was of course mortified; his cough had made an acting legend forget his lines. But the glitch made Mr. Hutt’s stunning performance all the more memorable.

Prospero (Christopher Plummer) and his affectionate daughter Miranda (Trish Lindström)

This year’s portrayal of the marooned magician-duke by Christopher Plummer, who at 80 is younger by five years than Mr. Hutt was, is every bit as fine as Mr. Hutt’s. Every phrase from Mr. Plummer hits its mark; he delivers Shakespeare with intense clarity. Mr. Plummer’s Prospero seems earthier and more irrascible, a ruler who wields near-absolute power with utter confidence. Mr. Hutt’s Prospero, if we remember it rightly, was more lyrical.

But The Tempest is not nearly — we know this is heresy — the best Shakespeare at the Stratford Festival this year.  The Winter’s Tale is more thoroughly satisfying and more entertaining (see our thoughts on it at this post), a judgment informally confirmed by various other theater-goers we met at random in Stratford. (We haven’t yet seen As You Like It.) When Mr. Plummer was on stage, we were spellbound, but he is off-stage for good parts of the play, and those parts didn’t match up.

In fact, after intermission, the pace seemed to lag and the play seemed to lose energy. This was especially so in the scenes involving Antonio (John Vickery), Alonso (Peter Hutt), and the other shipwrecked noblemen. The most engaging of the minor characters in the play ought to be Gonzalo (James Blendick), the old counselor who ensured that Prospero was provided with his beloved books to accompany him in his exile. But although the playwright meant us to understand that Gonzalo (like Polonius in Hamlet) is a tedious talker, he surely intended that the character would in fact endear rather than bore.

The scenes with Trinculo (Bruce Dow) and Stephano (Geraint Wyn Davies) were lively and entertaining, as these actors have superb comic timing and were at the top of their game. Jarringly, however, Mr. Dow chose, or was directed, to play Alonso’s jester as a lisping, limp-wristed queen. We couldn’t imagine why.

Ariel (Julyana Soelistyo) with Prospero (Mr. Plummer)

The special effects were excellent, especially those involving Ariel, played by Julyana Soelistyo, a tiny, seriously talented acrobat and actress who seemed to be in the air more than on the stage. But it seemed out of character for Prospero to be performing cheap magic tricks — the Duke of Milan wasn’t that kind of magician. And we couldn’t help thinking, not for the first time after seeing a Shakespeare play directed by Des McAnuff, that he was counting on gimmicks to keep his audiences interested.

Aside from Mr. Plummer’s Prospero, the character who grabbed our attention was Dion Johnstone’s Caliban, who glided around the set on four limbs with unhuman, fluid ease, much as we had always imagined Tolkien’s Gollum in the Lord of the Rings trilogy.

In fact, we came to think that Caliban was a literary ancestor of Gollum.  Just as Caliban whined about the island that Prospero had “stolen” from him, Gollum whined obsessively about the ring that Bilbo Baggins had “stolen” from him. And when we saw how devoted Caliban was to his new master, Stephano, and how much he disliked and resented Stephano’s companion, Trinculo, we remembered exactly the same dynamic between Gollum, his “master” Frodo, and Sam Gamgee (whom Gollum despised) during their trek to Mordor.

We were bemused to see that they’re making a new Hollywood version of The Tempest that will star Helen Mirren as Prospera.

The Tempest at the Classic Stage Company (NYC) — a review

A business trip to New York City this week gave Emsworth a chance to see Mandy Patinkin in a production of The Tempest at the the Classic Stage Company, a small, no-frills theater in the East Village. 

It seems that my twenty-ish children already know Patinkin from his role as Inigo Montoya in The Princess Bride, a movie that a better father would perhaps have watched with them.  (The picture to the right shows him in that movie with Andre the Giant and Wallace Shawn.) But personally, I hadn’t seen Patinkin at all, not in Evita or Sunday in the Park with George, not as a concert singer, and certainly not on television.  No matter.  For all his work in musical theater, Patinkin is a remarkably good Shakespearean actor, and it was a privilege to see him as Prospero. 

This show (directed by Brian Kulick) gets off to a bit of a slow start with a meandering and not especially terrifying shipwreck scene.  But it picks up as soon as Patinkin and Elisabeth Waterston (as Miranda) take the stage.  Their first scene together, of course, consists mostly of a long-overdue and somewhat long-winded explanation by Prospero of how he and Miranda came to be marooned on their island.  Patinkin kept our attention throughout this well-directed scene and throughout the play.

I couldn’t help, however unfairly, comparing this Tempest to the one we saw at the Stratford Festival in 2005 with the late William Hutt as Prospero (see picture below).  This week we saw a low-tech, low-budget production in a barely adequate performance space, while the Stratford show (in a first-class theater many times larger) went first class on all aspects of costuming and special effects.  And Patinkin’s supporting cast, taken as a whole, simply doesn’t compare to the repertory company at the Stratford.  Nor could any other Prospero measure up to William Hutt.

But Patinkin shares with Hutt a musical, modulated speaking voice, excellent timing (and the use of expressive pauses), and a talent for making Shakespeare’s language immediately intelligible.  Patinkin, who is 55, is of course a far more lively Prospero than Hutt was at the age of 85 — and he sings! 

Nyambi Nyambi is a particularly sympathetic Caliban with some of the play’s best lines; I enjoyed his performance very much. The energetic drunken scenes with Stefano (Steven Rattazzi), Trinculo (Tony Torn), and Caliban are nicely done. Angel Desai is a spunky (if surprisingly pudgy) Ariel with an unrequited longing for her master. I realized during this show that both Miranda and Ariel ask the same question: “Do you love me?” — Miranda of Ferdinand, and Ariel of Prospero.

I avoided the reviews before seeing this new Tempest, but now I’ve seen The New Yorker‘s snide comment that “Patinkin doesn’t seem to connect with the other actors or with the text.” 

Not connected with the text! He understood and reveled in each noble line! As to his connection “with the other actors,” The New Yorker seems to be knocking Patinkin for playing the character that Shakespeare created.  Antonio wouldn’t have been able to usurp Prospero’s dukedom in the first place if Prospero hadn’t been an introvert who detached himself from the citizens of Milan to devote himself to his books. 

Moreover, Prospero’s relationship to every character except Miranda, from the “shipwrecked” noblemen of Naples and Milan to the spirit Ariel and the Caliban, who are both his slaves — is one of control and manipulation. In several scenes, Prospero merely stands at the edge of the action, invisible to the other characters though making comments to the audience, watching to see how his schemes unfold. How surprising should it be that any Prospero should seem “unconnected” from other characters? Except Miranda: we felt from the start that Patinkin’s Prospero and his Miranda had a warm and affectionate relationship.