THE TEMPEST: It’s Complicated
A Theater Review by Julinda D. Lewis
By: Quill Theatre
At: Agecroft Hall & Gardens, 4305 Sulgrave Rd., RVA 23221
Performances: June 6-30, 2019
Ticket Prices: $30 Adults; $25 Seniors; $20 RVATA & Students (with ID)
Info: (804) 340-1405, quilltheatre.org or https://agecrofthall.tix.com/Schedule.aspx?OrgNum=1528
The current Quill Theatre production of The Tempest is sublime – though not perhaps for the reasons you might expect. It was not just the play, but all the components that came together to make up the entire evening. Saturday’s weather was perfect – not too hot, not too cool, not humid, no rain, and the bugs remained mostly at bay during the first act. The atmosphere was festive, with pre-show picnickers scattered across the spacious lawn, and vendors selling fruity ice pops, ShakesBeer and wine. The sixteenth century manor house and its tiered gardens, where one might encounter The Festival Young Company wandering about reciting monologues or go for a stroll during intermission provided the perfect setting for a festival.
The Tempest is complicated. Prospero, the lead figure, is the usurped Duke of Milan but he is also a powerful sorcerer. I’m not clear on whether he was a sorcerer before he was deposed and set adrift and landed on this remote island, or if he became a sorcerer as a result of his betrayal by his own brother, Antonio. John Cauthen and director James Ricks together give us a Prospero who is multi-faceted, showing a softness for his young daughter, Miranda, played by newcomer Madison Munson. She and her love interest Ferdinand, played by another newcomer, Dean Hall, brought a sense of innocence and normalcy to this otherwise convoluted tale. But Prospero is a complicated hero. He treats his servants Ariel and Caliban callously, forgives those who wronged him, and in the final scene begs the audience to release him. And he is so magically convincing that we comply.
Jeff Clevenger in the role of Trinculo, the king’s jester, and Adam Valentine as Stephano, the king’s drunken butler team up to bring much needed humor and physical comedy to this sometimes dark comedy, liberally sprinkled with betrayal, romance, and tragedy. But the two most noteworthy characters for me were Ariel and Caliban.
I absolutely adored Adam Turck’s portrayal of Ariel, Prospero’s spirit servant. Painted in blue, and draped in nondescript layers of identically painted fabric, Turck has adopted quirky movements that add to his otherworldly persona. At one point he appears on top of the wall that separates the stage from the gardens, where he crouches to deliver his lines. Often lurking in the background, where he nearly blends in, it is almost possible to believe that he is invisible to all but Prospero – and the audience.
Now as for Caliban – I don’t know if anyone else has said this but. . . .Why is the black actor (a) a slave and (b) called a monster and a savage? Okay, I understand that this is the character that Shakespeare wrote, but Walter Riddle is the obviously a POC and he plays a savage monster. I’m not saying he didn’t do a good job, but I just couldn’t get past that casting choice. I am not the first to say this, but Prospero, you are a Colonizer! The subplot of Prospero’s treatment of Ariel and Caliban and the vastly different ways they respond to their oppressor is more intriguing than Prospero’s story.
James Ricks’ direction kept things moving along at a nice pace; there was lots of action, and Ricks’ sound design included a few subtle touches that enhanced the overall experience. BJ Wilkinson doesn’t have much to do in the way of lighting as it’s still daylight until the second act, and Anna Bialkowski’s costumes, which put the noblemen in modern day suits, was visually cohesive and aesthetically pleasing. There are also a few delightful musical moments, with original music by Jason Marks.
Julinda D. Lewis is a dancer, teacher, and writer who was born in Brooklyn, NY and now lives in Eastern Henrico County.
Photo Credits: Production photos by Aaron Sutten; Group selfie by Noah Downs