Shakespeare’s later plays envisioned worlds of motion, sight and sound, all tied together with magic. In the case of The Tempest, now playing at Cutting Ball Theater on Taylor Street, his visionary technological is fully realized by Director Rob Melrose and company in a new production that greatly enlarges Shakes’ vision with audio processing and streaming video on a set with a distinctly modern nautical theme. The physical flights of three actors playing multiple parts open up the stage space to a world far vaster than Prospero’s tiny island.
The Rob Melrose version of the almost mystical play focuses intensely on the central relationship between a father, his daughter and her suitor. It emphasizes the theme of the deposed Duke Prospero of Milan who deliberately maroons himself and his daughter Miranda on an island.
Magician, Daughter and Sprite
David Sinaiko plays Prospero with a charmingly patriarchal concern. Caitlyn Louchard as his daughter Miranda portrays a sweet and innocent young woman who has been isolated for twelve years. With her diverse acting talents she also becomes both male and female characters. Her Miranda has a wholesome, girl-next-door quality, and her portrayals of other characters in love scenes advance the plot and get back to the story of Prospero’s loss.
With a snap of his fingers, Prospero can make her into Ariel, an ethereal being who can fly, cause shipwrecks and sing madrigals in a fine soprano voice. She shines across the dark foreboding sea when she is Ariel. Louchard’s instantaneous transformations from daughter to sprite highlight Prospero’s schizophrenic relationship between the spirit and his daughter.
The magic monster in his books
A large platform on the stage looks like a swimming pool with curved edges and chrome handrails. Prospero’s books, the source of his magic, are piled and scattered randomly about .When he reveals his “servant monster” Caliban, a hideous slave begat of a witch. Prospero opens trap doors in the deck of the platform. Donell Hill plays Caliban like a dangerous animal, but when he is Miranda’s suitor Ferdinand he shows eager optimism. His character changes are the most dramatic of this production.
The Director’s design
Director Melrose’s conception does away with some of Shakes’ plot complications in favor of concentrating on Prospero’s reluctance to give up his daughter to the son of the king who deposed him. In his cluttered mind Prospero wills his daughter to turn into a mystical spirit of the air. Louchard’s character shifts to Ariel become magical moments. In her scenes, the sound design of Cliff Caruthers gives an audible ambience with a dreamy effect.
The video projection sequences by Caruthers become longer, more animated and more insistent as the play progresses and he adds voiceovers and pictures of the cast. Abstract patterns, moonscapes and storms at sea give a heightened sense of place and circumstance. His soundscape complements the stage action.
The use of four ladders to suggest flight, airiness and other-worldliness is very effective. Melrose’s physical blocking is energetic. The stage activity tells the story as concept takes precedence over text. The lyrical nature of Shakespeare’s original lush exotic images is here woven palpably into a multimedia stage activity. Melrose’s daring conception efficiently uses an up-to-date idiom to enhance an age-old story of tragedy with a happy ending.
Buy Tickets
Shakespeare’s The Tempest by Cutting Ball Theater has been extended through December 19 at EXIT on Taylor, 277 Taylor Street, San Francisco. For tickets ($15 to $50) and more information, the public may visit www.cuttingball.com or call 800.838.3006.
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