Love and hate. Vengeance and forgiveness. Only Shakespeare can write of these themes and integrate humor and magic into a story at the very same time. In a colorful extravaganza of techno music and glitter, Shakespeare’s “The Tempest,” University Theater’s latest “new classic,” proves to be a perfect mix of ancient enchantment and modern themes.
Directed by Carolyne Haycraft, “The Tempest” tells the story of Prospero, the duke of Milan. His daughter falls in love with an unsuspecting suitor, the son of Prospero’s enemy, Alonso, the king of Naples. Set on a remote, magical island, the duke and many of his acquaintances have encounters with curious sprites and fantasy creatures. All the while the duke makes his sprite, the luminous Arial, tempt and play with his enemies’ minds. But this road of revenge is cut short as the duke has a change of heart and realizes that “the rarer action is in virtue than vengeance.”
The show was quite a sight, catching the attention of the audience immediately with its opening scene of a ship in distress at sea. Lightning struck and thunder boomed as the ship went down, with the sprites mysteriously overlooking the scene. Humor sneaked its way onto the stage with the performances of Adam McNulty (Caliban, a savage and deformed slave), John Michael Graham (Trinculo, a jester), and Mitchell Mullen (Stephano, a drunken butler). All three used audience interaction and comedy to tell their story on the island. The romantic chemistry between Miles W. Hartley (Ferdinand) and Rachel Lewis (Miranda) lit up the third act as they professed their love for each other. And Barbara Clayton (Prospero) gave a great and convincing portrayal of the powerful male duke.
The highlight of the show was the refreshing performance given by Sommer Austin (Ariel). Her presence, much like Tinker Bell from “Peter Pan,” filled the stage with mischievous antics and enticing qualities. But even the airy sprite dealt with the themes of love and hate in this show. She invoked the viewer’s sympathy when she asked Prospero, “Do you love me, master?” Austin’s balance between silliness and sincerity worked very well for her character.
The best scene of the show came near the end of Act Four, when the entire stage burst into a techno dance party. This included sprites pulling people from the audience to celebrate the love of Ferdinand and Miranda with them. Energized and glowing, the whole stage seemed to light up during this dance sequence. Viewers couldn’t help but smile.
The production’s physical aspects were done extremely well. The center stage was built in a circular form, with a path that led to the upper parts of the stage. This proved very useful when McNulty crawled out from the bottom of the stage, as though he had emerged from the dungeons below.
Recognition should also be given to the costume and make-up crews. The sprites’ clothing and iridescent face paint illuminated their already mysterious personas on stage. McNulty’s costume and body were made to look entirely soaked in mud, as a slave would be look. The props crew created the larger-than-life shish-kebobs and cheese slices that tempted the king and his men during the show. All around, the physical elements of this production added to the magic that the story from “The Tempest” created.
With a story of vengeance and forgiveness and the magical temptations of a fantasy island, “The Tempest” is a must-see for anyone who enjoys Shakespearian tales. The show is a treat on the eyes and a great adaptation of the classic play.
“The Tempest” runs Oct. 25-27, Nov. 1-3, in the Mitchell Theater in Vila s Hall. Tickets are $14, $10 with student ID. For more information call 262-1500.