By Bridgette M. Redman
In the 400 years since "The Tempest" was first performed, it has been put up in venues as diverse as the spirits that inhabit Prospero's haunted isle. With the play so full of magic and wonder, it appeals to the imaginations of directors and producers alike.
The island on which the former Duke of Milan and his daughter have been shipwrecked for 13 years is populated with all those things from traveler's tales that no one quite believes. Prospero, who even before his exile was dabbling in magic, becomes a sorcerer who rules over the spirits of the island to create a paradise in which he turns evil to good for the sake of his daughter, Miranda. Along the way, he even learns that redemption is a drink that all can enjoy, even those who have been wronged.
The flexibility of this play and the potential it holds to present the audience with stage-borne spectacles makes it a perfect choice to launch Park Bar's first full production. The theatrical space tops a bar in downtown Detroit, and noises from nearby concerts and the crowds partying below sometimes waft up the stairs, creating a sense of place that is different from the large auditoriums or even the outdoor stages where the Bard's work is often performed. The space's size keeps the audience and actors in close contact but still allows for special lighting effects, the changing of scenery and the flying in of some set pieces.
The intensity of the production and the attention to all the details of set building, costumes, lighting and sound effects all make apparent the passion and commitment of director and Park Bar owner Jerry Belanger. The Wayne State theater alum purchased the empty storefront in 2004 and created the two restaurants on the block with the upstairs performance space designed to host private parties, concerts and theater.
On the spectrum of spaces, this one leans toward the unconventional, but the production itself is conventional and traditional, a performance designed to appeal to both the Shakespeare purist and any uninitiated audience that might wander up from the bar below. Every actor speaks the language with ease and strength, the setting is Elizabethan and the men wear tights.
Patrick Loos's Prospero could be Shakespeare himself, his staff the pen that draws his characters into the places of his choosing and bewitches them to perform according to his will. He is the kindly father who has a role for each of his charges, and who uses his temperament to secure good behavior. Sarah Switanowski's Ariel is the invisible stage manager whose music pulls the actors along to do the will of the playwright. Katie Terpstra's Miranda is a paragon of beauty, virtue and innocence, and observes her father's magic with the wonder that the original audiences may have brought to this brave new world of Elizabethan theater that had such creatures in it.
Switanowski's Ariel sometimes seems distant with the detachment of a flighty spirit who cannot comprehend the attention spans and worries of the mortal flesh. Within this interpretation, she commands the stage whenever she is on it, her streaming costume creating the illusion of flight as she climbs each set piece and works on multiple physical levels. On both pipes and tabor she entrances her victims, playing with them the way a cat does its meal.
Balancing the otherworldliness of Ariel is Mike McGettigan's Caliban, the creature of earth, and the two drunkards he falls in with in hope of revenging himself upon Prospero. The three revel in the physical humor of the roles from the flashing of naked buttocks to fart jokes to relieving their bladders and bowels of the overconsumption of alcohol. McGettigan, Chris Korte and Mikey Brown are a merry trio of clowns who take their roles over-the-top to dispel the melancholy of their shipwrecked companions.
Belanger and Cal Schwartz collaborated on highly detailed costume designs that were thoughtful in their design, faithful in their representation and supportive of each character's personality and role in the play. Of particular delight were the hats of the shipwrecked men from Milan and Naples. Each had their own design, appeared to be well-made and were fashioned from the same cloth as their outfits. Each hat spoke to the person's role, with Sebastian's hat and makeup combining to give him a sour, weak look that immediately identified him as one of the traitors, while Gonzalo's rich velvety hat that encased his face provided him with additional optimism and wholesomeness.
Master Carpenter Adam Crinson and Scenic Designers Belanger and Michael Rollo create a sturdy sectional set that can be turned around quickly to provide different portions of the island or even drop in the mast of the boat for the opening tempest. While the set changes were quick and added to the high production value of the show, they were so similar in coloring and design as to make it seem almost unnecessary. Perhaps had the addition of vegetation for the outside scenes or a change of color for Prospero's cell might have made the differences more acute. As it was, either of the sets could have worked perfectly well for all of the play's backdrops.
The Park Bar's inaugural show brings together a talented cast and crew, all of whom are highly skilled and work together to create an overall experience that is pleasing and satisfying. There is an uncompromising commitment to quality that promises great things for the future of this organization.
Prospero ends Shakespeare's last play by promising to break his staff and drown his book of magic, saying he shall no longer control the muses of the island nor create new wonders to entertain his fellow beings. His mantle rests on the child he sends off to be married. Perhaps in her bliss, she won't notice that the artists at Park End have eased it from her shoulders and wrapped it around their new endeavors.
REVIEW:
'The Tempest'
Park Bar, 2040 Park Ave., Detroit. Dec. 10, 16-17, 27, Jan. 6-7, 13, 20-21. $40. 313-444-2294. http://www.parkbardetroit.com
