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Pleasant as a summer night's dream

By John Quinn

An astute professor once told our class, "One does not go the theater to 'see' Shakespeare. One goes to 'hear' Shakespeare!" I've never seen that demonstrated so ably as in the adventuresome adaptation of "The Tempest" staged by the Blackbird Theatre. The company has ventured out of its black box and is playing at the newly renovated West Park in Ann Arbor. I might say "all the world's a stage," but I'd be quoting the wrong play. Other than set and lighting by the Creator Herself, it's just four actors and some of the most beautiful theater ever written.
"The Tempest" is the last play written by a mature artist, the grand finale of his stellar career. Oddly enough, its plot is probably Shakespeare's most original. It's a fairy tale of mysterious islands and magical shipwrecks, a story of betrayal and retribution, remorse and forgiveness. Plus boy meets girl – boy gets girl. Happy ending, anyone?
Prospero, the exiled Duke of Milan, spent too much time mucking around with magic and too little time in governing. His conniving brother, Antonio, staged a coup with the help of Alonzo, King of Naples. Prospero and his three-year-old daughter, Miranda, were set adrift to live or die. The boat washed up on the shore of an uncharted island, where for 12 years they've been the only human inhabitants. Yet they're not alone. Prospero, through his dark arts, has suborned to his will two servants – the zephyr-like Ariel, whom the magician freed from a witch's spell, and Caliban, the cloddish spawn of that self-same witch. By creating the illusion of a mighty storm, Prospero now has in his power his traitorous brother and the King of Naples, as well as the king's scheming brother and Crown Prince Ferdinand. Along for the ride are two clownish, drunken servants. The newcomers are scattered across the island – "Lost" if you will – and the little groups think they are the sole survivors of a fatal shipwreck. Disoriented and disheartened, they are easy marks for Prospero's justice.
By and large, the Blackbird's adaptation is a success. The editing tucks the play into a two-hour window and emphasizes the main story line. Its weaknesses are of a different sort. If you check a copy of the play, you'll find that there are some 15 speaking roles. When played by only four performers, it's hard to keep straight just who's who. I am also missing some choice confrontations between characters; they'd be difficult when the antagonists are played by the same actor.
Given the daring nature of this production, which has had some thorny surprises in rehearsal, it's a work of boundless invention. Lynch Travis has done signal service in tying up loose ends. From my perspective, each actor has brought novel insight to the roles. In past productions I haven't seen the petulant Ariel or the cowardly side of Caliban. Both of these characters spring from a thoughtful Jamie Weeder. I have seen Prospero look like an elderly Merlin; Barton Bund plays a young, vibrant father. Jon Ager does best in delineating his characters, the faithful counselor Gonzalo, ardent prince Ferdinand and the drunken jester, Trinculo. There is a real surprise in Luna Alexander's Miranda. The production is staged in front of band shell yet even Miranda's whispers carry without added amplification. That's an art, let me tell you.
This version of "The Tempest" is appealing to the theater buff. It has soaring poetry, well delivered, in a beautiful, unparalleled setting. If I am moved to say good Shakespeare is "the stuff dreams are made of," at least I'm finally quoting the right play.

REVIEW:
'The Tempest'
Blackbird Theatre at West Park, Seventh Ave. & Miller Rd., Ann Arbor. Friday-Saturday through June 25. $15-$25. 734-332-3848. http://www.blackbirdtheatre.org

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