Stage Review: The Tempest
Not Santa Claus and The Stripper, we swear
No related
With an enormous clap of thunder, it begins: For the first time in its history, Steppenwolf tackles William Shakespeare with The Tempest. Tina Landau's ambitious production is complete with wonderful performances and beautiful visuals—not to mention the spectacular opening storm of the title, with sailors tumbling down ladders right above the audience, and a seemingly endless parade of actors entering and exiting through trap doors onstage. Although, be prepared for a few missteps in the play's revamping.
Shakespeare's final work is closely tied to fantasy: Magician Prospero is exiled to an island, where he uses magic to create a horrible storm to seek vengeance on his brother Antonio—who usurped him as Duke of Milan. Much of the action takes place on a mostly bare, industrial-looking stage; zip lines, ladders, and platforms occupy the space above and are used by Prospero's servant Ariel, who, along with his fellow spirits, cast spells on Prospero's enemies. The most beautifully staged sequence—the marriage between Prospero's daughter, Miranda, and the King of Naples' son, Ferdinand—features dozens of giant flowers descending onto the stage, perfectly capturing the play's sense of magic.
Unfortunately, that same sequence contains a terribly-out-of-place rap song by Ariel, giving the impression of a middle-aged father trying to show his kids he's just as hip as them. Other moments feel just as kitchen-sink cluttered: Video projections are used inconsistently, and Ariel sits far above the stage watching much of the action with an open Apple notebook in his lap. Why? Who knows.
But despite these mistakes, there are notable performances by Chicago theater legend Frank Galati as Prospero and young Jon Michael Hill as Ariel, who displays an infectious energy and dominating stage presence. Even the actors with small parts step up in a big way—as if they are relishing the chance to finally perform Shakespeare. Tim Hopper, Yasen Peyankov, and especially K. Todd Freeman, as Prospero's escaped slave Caliban, stand out as a terrifically comic and yet fearsome trio out to kill Prospero for his misdeeds. Maybe they should settle on killing the rap song instead. Grade: B+
