On Thursday February 21, 2008, at the University of New Mexico’s Popejoy Hall, The Acting Company performed what may not be the definitive production of William Shakespeare’s The Tempest. However, while not a theatrical experience for the ages, this interpretation of Shakespeare’s final play is a lucid, inventive, extremely well-acted, witty, and, finally, poignant experience for today. It speaks especially well to those audience members new to Shakespeare and is updated to appeal to contemporary youth. It is proof positive that the national initiative, “Shakespeare for a New Generation,” is alive and well.
Founded in 1972 by the late John Houseman and Margot Harley (the current artistic director) from the first graduating class of the Julliard School’s Drama Division, The Acting Company has presented reinvigorated classics and original and challenging drama in 127 productions in forty-eight states and ten foreign countries. The troupe is recognized as America’s foremost repertory company. It has been honored with both Obie and Tony awards for general excellence in the theater. The Acting Company has also trained many celebrated actors; included among its alumni are Patty LuPone, Kevin Kline, Benjamin Hendrickson, Mary Lou Rosato, Frances Conroy, David Ogden Stiers, and Jeffrey Wright.
Prior to moving to New York City in 1976, my wife Jacqueline and I lived in Albany, New York, approximately 30 miles south of Saratoga Springs, the home of the Saratoga Performing Arts Center which served as the summer home and development theater for the just formed The Acting Company. We saw twelve re-energized theater classics performed by a supremely talented troupe of energetic young actors under the direction and tutelage of the towering John Houseman. Locals were able to see first-rate theater for affordable prices. Especially memorable among these early The Acting Company performances were Behan’s The Hostage (1972), Shakespeare’s Measure for Measure (1973), Saroyan’s The Time of Your Life (1974), Marlowe’s Edward II (1974), Beckett’s Play (1974), and Goldsmith’s She Stoops to Conquer (1975). In a very literal sense, my love for the theater was informed by my exposure to The Acting Company in its infancy.
Thirty-five years later The Acting Company is still producing innovative, intelligent, and entertaining theater. The performance of The Tempest at Albuquerque’s Popejoy Hall met all the above criteria for a superior Acting Company production. Frequently labeled as Shakespeare’s “farewell to the stage” since it is his last written play, The Tempest is actually a wonderful introduction to Shakespeare, especially for those new to the playwright or simply bard phobic, because it has something for everyone, including “comedy, revenge, attempted murder, love, and reconciliation through forgiveness” (www.theactingcompany.org).
This production is free of any time or period limitations. While the cast is uniformly and without exception first rate, there are several performers who demand individual recognition. They are Victoire Charles (an other-worldly and eye-riveting Ariel), Michael Stewart (a menacing, neo-Nazi, heavy metal wannabe Caliban), Timothy Sekk (a preppy, privileged Ferdinand), and Kelley Curran (a disarmingly direct and naïve Miranda). Christopher Oden as Prospero had a mad scientist look and served as emcee, conductor, and choreographer of the entire affair. Dennis McCullum’s direction was muscular and fast-paced without ever doing a disservice to Shakespeare’s poetry and comic invention.
The Acting Company’s The Tempest shines in its innovative updating of its costumes, props, and use of music and dance. The noblemen are dressed in gold, silver, and ivory formal wear with long coats that suggest Matrixesque skullduggery. In contrast, everyone on the island is an individual. For example, Ariel is dressed in a form-fitting wedding dress with traditional veil and train. Miranda in her headband, ruffled lacey top, and hot pink toreador pants would look at home in any public high school in America. There are only three major props: a green business swivel chair, a large bright orange movable warehouse laddered staircase, and a dolly on rollers. All these objects keep the actors flying across the stage at break-neck speed. Finally, the music is contemporary as are the dance sequences. All these visual and aural elements come together in the mute sprites that are in the service of Ariel. They are dressed in red pants, long-sleeved white tunics with muslin covering their heads. One of the highlights of the play is the sprites’ hip-hop dance on mini-stilts.
There are a few instances of stagecraft that successfully appeal to a contemporary audience. When Stephano first introduces Caliban to liquor the monster doesn’t become a roaring boy, but imagines himself, as with, I would hazard a guess, a good portion of twenty-first century drinking neophytes, a heavy metal rock artist in the making. Caliban’s rock version of his speech on freedom is an unqualified (and amplified) audience pleaser. In a bit of technological inspiration, Prospero and Ariel electronically amplify their voices when they are engaging in magic. This clearly delineates the difference between the poetry of their art and the less heightened language of their roles as father and servant.
The Acting Company’s goal is to create fresh, energetic, and original theater designed to develop and extend the audience for Shakespeare in the twenty-first century. Their 2008 production of The Tempest is a major step in the direction of fulfilling this lofty goal.
(Jacqueline and I attempted to see the other touring production of The Acting Company—Moby Dick Rehearsed—on Friday, February 22, 2008, at the Lensic Theatre in Santa Fe. However, a major power outage in the downtown area led to a cancellation of the show. We were deeply disappointed and employed the 1950’s rallying cry of the Brooklyn Dodgers who always seemed to lose to the hated New York Yankees in the fall classic: “Wait until Next Year!”)
All the photographs were taken by Diane Gorodnitzki for a 1975 publication for The Acting Company entitled The Acting Company; A National Repertory Theater.
