The Tempest: A Review Kiss Me, Kate: A Review
One of the most exciting things in the theater world is when a director makes the bold attempt of radically changing a well established and loved play. When the performance actually lives up to the hype and expectations, it is a glorious and magical event that can totally alter your perception of what theater can accomplish. The Tempest, currently in production by the Marin Shakespeare Company, has accomplished the aforementioned feat, in a marvelous display of the Steampunk genre.
For those not familiar with the concept of Steampunk, it is a sub-genre of Sci-Fi/Fantasy and Historical Fiction that imagines a time (usually set around the Victorian or post-American Civil War era), where steam power reigns, and Nicola Tesla’s imagination for electricity was able to take it’s course. If you are familiar with the works of H.G. Wells or Jules Verne, you have already had a starter course in Steampunk, though the term was not invented until the 1980’s.
In this production of The Tempest, director Jon Tracy replaces the magic and mysticism of the Bard’s original setting (“I hate wizards.” is the start of his director’s notes), with Proto- and Fringe-science that would make Tesla and Victor Frankenstein proud. The sets are a wonder to behold, and the costumes are the linchpin that really hold the visual them of the production together. The slightly tattered and worn in costumes pull together the idea that this is not your parents' The Tempest.
Every actor in this production was great. From the optimistic youthfulness of Sarah Gold’s Miranda, to the paternal love and caring of Robert Currier’s Alonso, it is plain to see that each actor put a lot of time into honing their characters and giving them something to work off of. Special recognition should go to Michael Torres for delivering an incredibly nuanced version of Caliban, which went beyond the tired savage/monster that has been done many times before. Cassidy Brown also did an outstanding job as Stephano, and was easily the highlight of the comedic side of the production.
With a brilliant concepts, gorgeous visuals and a stellar cast, The Tempest is definitely going to be the a contender for best Shakespeare of the year. Grab whomever you can and show them how magical and compelling Shakespeare can still be.
The Tempest is running at the Forest Meadows Amphitheatre at the Dominican University of California until September 25. Tickets run $20-$35. Special “Pay Your Age” prices for adults ages 21 to 34. For tickets and more information, visit www.marinshakespeare.org
Productions of Cole Porter musicals (such as the currently running Kiss Me, Kate) can sometimes go two ways: they can look and sound fresh and new, or they can feel like a tired window into the past. With a lesser group, you get the latter. Luckily, with the stellar cast and crew of the 6th Street Playhouse, this is not the case, and the production feels as if it could have been a modern musical.
What helps keep this particular musical fresh is that beyond a few references to post-WWII culture, the story of former lovers and an acting group trying to open a new high concept play (in this case, a musical adaptation of Shakespeare’s The Taming of the Shrew) is one that still feels fresh and relevant. The love is on-again/off-again, the jokes are quick and easy, and you have a decent feeling that everything will work out in the end.
Visually, the production is stellar. the costumes look fantastic, and the colors on the set and lighting helped everything pop. Unfortunately, there were odd lighting glitches throughout the performance that were very distracting, which will hopefully be fixed soon.
Tony Ginachetta’s choreography is a pleasure to watch, and is a little breath of fresh air for those who tire of “average” musical choreography. The number “Brush Up Your Shakespeare” deserves special recognition for being fun and different. His other numbers were similarly a joy to watch. Except for some mike problems that plagued a few of the cast members, the singing was some of the best I have heard in recent history. Each of the actors, especially Taylor Bartolucci (Lilli) and Barry Martin (Fred) were able to imbue their songs with well developed character. The majority of the cast’s acting outside the musical numbers was pleasant as well, with believable and fun characters.
If you have never seen a Cole Porter musical, Kiss Me, Kate, as Porter’s possible best, will be an excellent introduction to his take on the classic American art form. If you normally tire of musicals from his era, do not be afraid to give the production a try and see how an old play can seem new.
Kiss Me, Kate runs at the 6th Street Playhouse in Santa Rosa until Sept. 4. Tickets run $15-$35. Call 707-523-4185 or visit www.6thstreetplayhouse.com for details.