The Citizen, 1992-07-01, Page 31THE CITIZEN, WEDNESDAY, JULY 1 , 1992. PAGE 31.
Young love
Antoni Cimolino and Megan Porter Follows are Romeo and
Juliet in the Stratford Festival production of Shakespeare's
classic romance.
Theatre review
Tempest, magical
BY LARRY CARDIFF
This season at Stratford, director
David William brings to the stage
the controversal and often thought
provoking last play of William
Shakespeare. At the time when
Shakespeare wrote The Tempest, he
was approaching the end of a long
and highly productive career in the
theatre.
The Tempest is a magical tale of
power and vengence, redemption
and forgiveness, and is perhaps
Shakespeare's most enchanting tale
of the human experience. The play
not only examines the dark side of
the human psyche, but revels in
visions of the supernatural entities
that lie on the edge of mankind's
existence.
The romance, combined with ele
ments of music and magic, moves
within the setting of an enchanted
island with the action unfolding
over the period of a single day.
The central character, Prospero,
is an exiled duke and magician,
who creates a tempest, a violent
storm to shipwreck his former com
patriots in order to redress ancient
wrongs. He often exemplifies wis
dom, justice and almost superhu
man good judgement.
Ultimately, Prospero brings
together his daughter, Miranda and
the King's son, Ferdinand, showing
the two young lovers the promise
of a "brave new world".
Alan Scarfe, returning to Strat
ford for his eighth season, gives an
intense performance to the role of
Prospero, the upsurped Duke of
Milan-tumed-magician. His multi
faceted performance, which domi
nates the production, moves from a
man obsessed with vengeful wrath
to tender-hearted concerns of a
father.
The play’s most lou-ching
moment comes, when following
Ariel's suggestion, Prospero over
comes his anger, breaks his magical
staff and renounces his revenge. He
has met within himself his own
darkness, and has conquered it.
Ted Dykstra's portrayal as Ariel,
the "airy spirit" through which
Prospero commands the lesser spir
its, provides us with a weird and
dazzling character, who though
well acted and well received, seems
almost alienistic and strangely out
of place in Elizabethan play.
Wayne Best's performance as
Caliban, the enslaved witch's son,
is athletically impressive as the
deformed simian-like creature scur
ries about bemoaning his loss of
freedom. Some may see him as an
embodiment of evil, but he appears
too innocent, too childlike to be a
full-fledged villian.
Miranda, as played by Claire
Rankin, provides us with moving
speeches of innocence that touch
deeply upon the soul. Her counter
part, Paul Miller as Ferdinand is the
poetic image of the valiant hand
some prince, perhaps too much so.
The impressive lighting by
Michael J. Whitfield, serves to
amplify the magical eerieness with
shocking surprise. The bluish glow
lighting the magical moments is
further enhanced by the solemn and
strange beat of Composer Stanley
Silverman's music.
The costumes designed by Susan
Benson are outstanding period
pieces of the Elizabethan era. But I
was especially enthralled by the
bizarre beast-like masks of the ban
quet carriers and the exotic cos
tumes of the wood nymphs.
The Tempest is a bewitching tale
with an impressive cast and strong
performances. As Prospero states in
Act IV, Scene I: "We are such stuff
as dreams are made on". No truer
words could be spoken.
Director David William has obvi
ously exerted his own imagination
upon the play, but overall it is a
good production and deserves to be
seen. The audience signaled their
approval with their quite lengthy
applause, which only increased in
momentum for Prospero, Ariel and
Caliban.
The play, which is one of four
Shakespearean works to be staged
at the main Festival Theatre contin
ues through Nov. 14.
ntertainment
Theatre review
Cast superb
BY BONNIE GROPP
"Romeo, Romeo, wherefore art
thou Romeo?"
According to the Stratford Festi
val production of Romeo and Juliet
which I attended recently, the
answer is "stuck somewhere in the
1920's." Under the direction of
Richard Monette this Shakespeare
an classic has been transplanted
from the romantic Renaissance
period to a time less in keeping
with the turbulent passion of the
play.
I have always been perturbed by
the artistic penchant to transfer
Shakespeare to another time. We
can argue that this demonstrates the
timelessness of Shakespeare's work
or that it broadens its appeal, but I
disagree. Unless the entire produc
tion is going to be redone to suit
the period it has been catapulted
into by costume design, which is in
this case by Debra Hanson, then it's
a ridiculous idea. I find it difficult,
for example, to imagine a group of
young men in the less mercurial
20's, drawing swords in a crowded
square.
We do get a glimpse of the beau
ty we are cheated of, however, dur
ing the masquerade, when the
characters are garbed in the attire
that we had expected to see.
The story of Romeo and Juliet is
one that few people do not know;
star-crossed lovers who are ulti
mately driven to a fateful and vio
lent end by their feuding families.
It is a story that has cast a spell
over many. It appeals to the roman
tic in all of us and as such needs lit
tle artistic fancies to enhance it.
The cast of this romantic tragedy
was marvelous. Megan Porter Fol
lows is an endearing Juliet, portray
ing her with the right mix of
innocence and flirtatiousness.
There has been much said by peo
ple who have been unable to sepa
rate her from the Anne of Green
Gables role she made famous on
television. While I admit, some
what sheepishly that this wasn't an
issue with me as I have never seen
the former, I felt she was a perfect
ly believable Juliet.
Antoni Cimolino does a good job
as her starry-eyed suitor. I question,
however, Mr. Monette's reason for
having Romeo stand with his back
to the audience during the balcony
scene. Though, admittedly, his
muscular dancer's build is a pleas
ing sight to behold from the "rear"
it would have served the scene bet
ter to have at least had him in pro
file.
Barbara Bryne, a familiar face on
the Stratford stage, is typically
wonderful as Nurse, a warm and
jolly friend to Juliet.
It was difficult for the stars to
outshine Colm Feore's performance
Happy 24th
Birthday
Sandra Kerr
as Mercutio, kinsman of the Prince
of Verona and Romeo’s friend. He
is a charming scamp, who provides
much of the lighter, often sugges
tive humour.
The fight scenes, directed by
John Stead and choreographed by
John Broome were very well done
as well.
Though I felt the production
lagged somewhat it was, overall
well done. If it had just been left
where it was meant to be, it might
have been even better.
Jeff Howson graduated
from the University of
Guelph in the Associate
Diploma Course majoring
in Agriculture Business.
Jeff is presently employed
with Cook's, a division of
Parrish & Heimbecker in
Kirkton. Congratulations
Jeff from Dad, Mom and
Sherri.
GRADUATION
Mr. and Mrs. Max Watts of
Havelock, formerly of Brussels
are pleased to announce the
graduation of their youngest
daughter, Ruth Ann. She was
conferred with her Bachelor of
Arts Degree, Honours Crimin
ology from the University of
Windsor on June 7, 1992. In
September, Ruth Ann will
resume her studies at Wayne
State University, Detroit,
Michigan, in Masters of Social
Work Program.
Blytt) Ipp
523-9381
THURSDAY NIGHT IS
WING NIGHT
5 P.M. - MIDNIGHT
WINGS 35e EACH
MINIMUM ORDER 10
a variety of sauces available
Wings available for take out at
regular price of 50c each.
THURS., FRI., & SAT.
5 P.M.-MIDNIGHT
WINGS & CHIPS
$5.45
EAT IN OR TAKE OUT
THURS., FRI. & SAT. NITES
PIZZA
5 P.M. - MIDNIGHT
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GRADUATION
Diana Van Den Broek,
daughter of Henk and Ria
Van Den Broek of Brussels
graduated from Child and
Youth Worker from Fan
shawe College, London on
June 12. Congratulations
Diana, from Dad, Mom, Rob,
Rita and Stephen.
Adam J. Perrie graduated June
20, 1992 from Conestoga
College of applied Arts &
Technology in Kitchener. He
received his diploma in the
Electronics Engineering
Technology Program, and is
currently employed at Unitron
in Kitchener. Congratulations
from Mom and Dad, and your
favourite aunL