Performance Review

Comedic aspects of this production of The Tempest reigned strong and certainly left a lasting impression. This especially proves true in Act 2, Scene 2 where Caliban, Trinculo, and Stephano are all introduced to one another. When reading the text, the satirical aspects were not illuminated for me. I did not read anything in jest, so this scene read stern to which I realize was clearly not the intent after seeing it performed. Trinculo, played by Trevor Fox, as a bumbling drunk worked for me in both the text and on stage. However, his costume did catch me off guard initially. When reading the play, I didn’t get the impression that Trinculo would be dressed as a jester. Admittedly, after I got adjusted to the flamboyance I truly enjoyed it. Trinculo capitalizing on his role as an entertainer was nothing less than amusing. His interaction with the audience also reflected the play’s status as a comedy. Crudely wringing himself out on the unsuspecting cast members as he initially took the stage was priceless to say the least.

His spectacle continued when meeting Caliban for the first time under his gabardine. Trinculo ponders Caliban’s physicality when we asks, “What have we here? A man or a fish? Dead or alive? A fish. He smells like a fish, a very ancient and fish-like smell, a kind of not-of-the-newest poor-john. A strange fish!” (Shakespeare 77). After reading the scene, I felt Caliban’s true appearance to be ambiguous. It was difficult to discern whether or not Shakespeare depicted the character as a mutant or just a human that differed physically. This proves especially true when he is described as being “Legged like a man and his fins like arms!” (Shakespeare 77). Going into the production with uncertainty as to how Caliban would actually be portrayed left me pleasantly surprised with the choices the company made regarding the matter. James Garnon, who played Caliban, did an impressive job changing his posture and movements to resemble what one would consider less human and more animalistic. This duality is how Caliban is portrayed in the text, with suggestions pointing to the idea that he is being animalized. From the play I didn’t exactly pick up on fish, but rather ape. His posture and standing on the balls of his feet suggest that he is less refined and possibly hasn’t properly evolved as much as the other men. Thus, Caliban is less refined, fortunate, and less human than the other men.

Another character who doesn’t possess entirely human characteristics is Ariel. Colin Morgan, who played the nymph-like spirit servant to Prospero, was most impressive. After discussing a possible homosexual relationship between Prospero, among queer theorists highlighting this tension, I watched for it in the production. However, this idea came up short for me. Ariel’s relationship with his master seemed to be more of a young son and father scenario. Morgan’s mannerisms and facial expressions led Ariel to be seen as innocent and a character with childlike wonder when concerning Prospero. The makeup used on Morgan, accentuating paleness and lack of color helped to highlight this innocence. Ariel has had minimal exposure both figuratively and physically, possibly adding to his affinity towards Prospero. Since he does not know any better, Prospero takes advantage of this purity.

Another layer of Ariel’s character on stage is his eccentricity. He gallivants around the stage and makes his way through crowd almost elegantly. Cartwheels, climbing, and sashaying were a few examples of his movements. His nimble mannerisms were undoubtedly catlike, yet his expressions were those resembling the other side of the binary as Prospero’s loyal puppy dog who seems his approval and attention. This is especially true when Ariel delivers his famous lines, “Do you love me master? No?” (Shakespeare 123).  Prior to the play, I envisioned Ariel being much smaller in stature as nearly dwarf-like yet this didn’t translate in the play. However, it worked.

An additional interesting aspect of the play that worked for me was the minimal use of sound effects. The play’s opening was admittedly startling, with the abrupt clinking of the rocks to mimic thunder and lightning. After discussing this technique, it was pleasing to hear it being utilized in our production. It was also refreshing to enjoy the play without overcompensation of loud and intense effects. In addition, the actors also utilized the stage completely, which was highly effective. From the pillars, the rocks, and the hole under the rock that Caliban appeared from to the entrances and the balcony, the actors were anything but stagnant. One other simple, yet wondrous, effect was the scattering of the white pieces from the upper balcony. Their continuous fluttering and wafting through the air felt supremely magical, just as I’d imagined a Shakespeare performance should feel. Overall, I truly enjoyed my first Shakespeare production and left the Globe with minimal critique of its adaptation.