Ah Prospero. You are my favorite character in all of Shakespeare! The masterful conjurings, the lonely exile, the fierce revenge still raging after twelve years away from the lost Dukedom of Milan, the Other embodied in ethereality and earthiness, the willingness in the end to forgive and forego—there are so many parts of his story that have resonance for me. Many have described Prospero as a primal symbol for the solitary (and often solipsistic) artist, and others see him as a particularly personal stand in for Shakespeare himself (it was the last play he wrote before returning to Stratford upon Avon, and he died just two years later). It is a poetic fantasy, and one that asks for us to step out of the world that we know and to enter into a phantasm of sprites, monsters, magic and manipulated nature.
A.R.T.’s new production of Prospero’s world, The Tempest, makes stepping out of our world and into another domain quite effortless. Aided by the skillful blending of what may seem like disparate themes—old time dustbowl carney shows, classical magic tricks (even cards!), the rough and tumble earthiness of Tom Waits’ music played by rough and tumble musicians, physical performers and Pilobolus-inspired acrobatism, staging in and off the proscenium—Prospero’s island laboratory of extraordinary powers invites us in and we are all his, ready to be enchanted.
Co-directors Aaron Posner and Teller (the quiet one from the Penn & Teller magic duo), have also blended their quite disparate visions of the play in a way that gives it a richly layered texture. For Posner The Tempest is a family play, with the island inhabitants of Prospero, Miranda, Ariel and Caliban making up an odd but not unfamiliar version of the dysfunctional family. For Teller it is the magic, the thing he loves most in life. “How different Prospero is from typical fairy tale wizards,” Teller writes. “He doesn’t use spells and potions to affect the physical world. He creates shows, and those shows—’that insubstantial pagaent’—are his weapons. That makes him less like a warlock than like a stage magician.” But as Teller points out, Prospero gives it all up, the very thing that is so essential to his very being. And why? For the love for his daughter, Miranda. Which brings all the theatrics right back to Posner’s view of the play as a story about family.
Yes, the editing of the play has been generous, but I do not take issue with that. Purists are often offended by any prunings of the Bard’s original material. But many of us know this play well, and the well-placed nips and tucks hold this production together in a way that does not feel inadequate or abusive of its intent. And what performances! Nate Dendy‘s Ariel is the best I have ever seen—every move he makes is light as air, and in the end he disappears from the stage as if by magic(!)—plus a Caliban cobbled from two sets of bodies is unforgettable.
We all agreed we would love to see it again. But we would need some serious conjuring skills of our own to make that happen since every show is sold out for the rest of the run through June 15. Standing room, anyone?
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