Much thought has gone into this production of The Tempest to instill some pizzazz into this sometimes complex, often overwrought morality fantasy. The Ontario Stratford Festival's current artistic director, Richard Monette -- one of Canada's venerable actor directors, with London and New York credits on his lengthy resume -- brought in the Festival's longtime Director of Music to compose enough incidental and all-out dance music to almost turn this flight into the NetherLand into a musical. To question validity would only create the perennial tempest in a teacup! Costume design matches some of the score's grandiose qualities, adding much colorful visual appeal to the dark and foreboding "Shakespearean" stage, a permanent feature of this venue, patterned after the original Globe Theatre design. The intricate scenario offers themes about truthfulness, vengeance, power, innocence versus perverseness, compassion, the occult, and, of course, that timeless chestnut called love.
When one realizes the playwright wrote The Tempest for the benefit of King James I, at whose court it was first presented, we can understand some of the subtle political messages: a monarch who rules with majesty, a jealous brother who plots to depose him, the court washed overboard in a huge tempest at sea, plus magic spells and romance eventually ending well. William Hutt's Prospero, has a most majestical presence. This 35-year Stratford veteran creates a performance of great magnitude, diversity, insight and significance. Peter Hutt (his nephew) as Caliban, a savage and deformed island inhabitant, finds stimulation from his uncle's inescapable influence to create a memorable performance. Boyish Michael Therriault (age 25) as Ariel mesmerizes with his superb movement and delivery. Sound effects and a sweeping directorial vision, add up to a show for all seasons.
