Lucy
Komisar
| In
"The Tempest, Caliban's 16th-century slave cry for freedom is
more powerful than conflicts between nobles
The scene shows the power of natural forces. But in this case, the power is supernatural. Because the storm has been conjured up by Prospero, exiled former Duke of Milan, who with the help of a magic cape is getting back at the king and brother who betrayed him.
However, the rest of the drama in Michael Greif’s production is not of a piece. The best performances are by Louis Cancelmi playing Caliban, the bestial son of a witch, and Chris Perfetti as Ariel, the androgynous sprite. Both have been enslaved by Prospero. But they have more human qualities than their master. And they want freedom. Two of the minor characters, also very well played, are Stefano, the drunken butler with bowler hat and suit (a terrific Danny Mastrogiorgio), and Trinculo, the jester (a good Jesse Tyler Ferguson), who both engage Caliban. The latter promises his allegiance to Stefano if he will help him kill the oppressor. Perhaps the main problem of the show is Sam Waterston's Prospero. At one point in the dialogue, his daughter Miranda (Francesca Carpanini), says "Your talk, sir, would cure deafness." A good critique of his performance.
Waterston's voice is of one note: loud, argumentative, angry, never subtle. And he seems to have a speech impediment, or at least unclear diction. He is nervous, jittery, harsh, nasty. Yes, after 12 years on this mostly barren island, he has reasons to be bitter, but neither is he very aristocratic. Caliban, on the other hand, is the best character of the play. Cancelmi has the body language of the beast, his hands curling like paws, his twists and turns like an animal's. His accent has a burr. His portrayal is brilliant. Caliban at one point says to Prospero, "You taught me language and I know how to curse." He also shouts "Freedom!" One wonders who the animal is here. And Perfetti's Ariel could take flight as he darts and runs as if transported on wings. In the tale, the royal party is thrown ashore, and the king's son, Ferdinand (Rodney Richardson) is separated from the others. He ends up at the abode of Prospero and Miranda. Of course, he falls in love. And there's a big moment — comic in Shakespeare's time — where the father says the two can't sleep together until they are married. Or terrible things will befall Ferdinand. Oh, and Ferdinand's first proposal is that he wants to marry her, as long as she is a virgin.
Carpanini just graduated from Julliard, and her lack of experience shows. Nor does Richardson make you think Ferdinand is a prince. Seems more like a fraternity boy. They are a couple for a vacuous TV show. There's also a pretty interesting speech by Gonzalo (the fine Bernard White), the king's councilor, who helped Prospero on his voyage to exile by secretly providing him with water. He imagines a country where there is no sovereignty, all things are in common, no weapons, nature shall bring forth abundance. Seems Shakespeare was a leftist. Prospero says, "We are such stuff as dreams are made on." But there's no sense of that. If the mood is no longer dark, it’s still overcast. More realistic is what Miranda says, "Oh, brave new world that has such people in't." She thought the royals she met were wonderful. Shakespeare hints she has a lot to learn. Visit Lucy Komisar's website http://thekomisarscoop.com/
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