Above : Charles Mayer vas Prospero. Pic Syl Marie
With this compelling production at the Glen Street Theatre, Come You Spirits Theatre, created an engaging re-imagining of Shakespeare’s THE TEMPEST, fielding a superlative cast of lost souls stranded for years on a magical island. They tell a story. A story that is told over and over again. A story that configures other characters out of thin air. Its quite a rollicking take on the Bard’s tale, a testament to his power of story telling.
In one of theatre’s greatest plays, it is a deeply moving reflection on life, love and what it means to let go. The otherworld is conjectured up delightfully, the other dimension, a higher consciousness, perhaps the Dreamtime. Maybe that was Shakespeare’s intent, sailing close to the winds by putting ancient healing and spiritual wisdom, banned in the West as witchcraft only 400 years ago, that survives all around us, hidden in plain sight, embedded in our arts and culture, especially First Nations. Remember Horatio in Hamlet saying, ‘Who knows, perhaps there are more things in heaven and earth, Horatio, than are dreamed of in your philosophy.’
On stage, there is a lot of Chi Energy in a performance buoyed through music, composed by Brandon Reed that is Turkish in flavour. The background videography of Charles Mayer is stunning as is Adam Appelbaum’s shaping the visual rhythms of each scene through light, shadow and atmosphere creating a feeling as much as a look. The cast exemplify holistic methodology to infuse their roles with uncanny effect.
Prospero is played by a very fine actor, Charles Mayer, who looks fierce as a necromancer, ruler and controller of his island fiefdom. He is a founding member of Come you Spirits and commands a killer presence. Jo Mayer doubles as Queen Alonso and Caliban, having excelled in Shakespeare repertoire roles working with British and Australian companies. Mayer carries a lot of weight on her shoulders as producer, set designer and costume maker. When not theatre-ing, she works as an energy and plant medicine healer.
The role of Ferdinand is performed by Ciaran O’Riordan who stamps his role with authority and sympatico. The award for ebullient performance is claimed by Willa King wearing triple hats as Trifana, the boatswain, Stefano and Trinculo, bringing a comical spirit that keeps the show fresh and grounded. King has written and directed theatre, film and cabaret.
Playing Prospero’s daughter, Miranda falls on the pixie-ish Charlotte Edwards that hits the mark with her verve, coquettishness and stylistic approach to her craft.
Kudos to all the cast, in particular to Ella Havelka who inhabits Ariel the spirit. She choreographed the production, balancing her creative gig with her role as a mum to twins. Havelka brings a nuanced presence to her role which showcases her multidisciplinary persona, combining her skills as a dancer, artist, weaver and her consummate energy as a stage performer.
Traditional readings of the text, seek to explore antagonism; however, this production explores cohesion instead, staging a greater kinship between the characters and a greater connection with the audience who become very integrated with the stage family.
The dynamics of the troupe members bear a familial bond working their magic into the performance.
Tonight’s production centered on the themes of power, vengeance and reconciliation. Prospero’s control over Ariel the spirit and Caliban the savage, explores the morality of dominance with the play shifting from revenge to mercy prompted by Ariel’s empathy which signals a move towards healing.
It was a fabulous treat to be in the audience for this very fine production.
