Sometimes the gods of the theatre smile and make sure that everything turns out all right. Sometimes they don’t. Fortunately, The Tempest received the blessings of the former. Our first tech run on Monday was semi-disastrous. First dress on Tuesday was an improvement but still marred by some unfinished costumes and a couple of missing cast members. Final dress on Wednesday, was another leap forward with pretty much everything in place but with a few scenes still shaky due to folk being uncertain of line sequence (and I saw a few notecards out on stage…) Opening Thursday – every performance was in place. Any lines that were dropped were covered seamlessly and would only be noticed by a scholar following along with a transcript. The complex staging scenes were executed the way I envisioned. Audiences over the first three performances have thoroughly enjoyed by somewhat goofy Polynesian fantasy take on the material and have been very complimentary. A few whom I trust and who know Shakespeare well have said I have taken a play that is difficult to stage and sell to a modern audience and made it an enjoyable two and a half hours. Full of enough spectacle and color, even on our teeny tiny budget to keep people engaged even when they aren’t completely sure of the language. I take that as meaning I did my job. If you’re in the greater Birmingham area, you can catch tomorrow’s matinee or one of four performances next weekend.
A few people are talking about what should we do for Summer Shakespeare next year. I do not plan to direct. The production will coincide with my retirement so I have no idea what I’m going to be up to at that point. Possibly off on an around the world cruise. Or maybe locked in a cabin somewhere with a bottle of gin, some Judy Garland records, and a packet of razor blades. If I were to do another, I think I would like to do Twelfth Night but it’s time to let someone else take the reins. Actually, what I would really like to do is King Lear but we’re not ready for that one.
There were various issues getting through the last week. We had to cut the hazer after it set off the fire alarm in the middle of Act I during first tech. The tech crew will have to experiment with it some and with ventilation before we bring that out again. There was a case of Covid (it has not spread). Compared to last year when we were battling a light system that completely stopped working and a car accident that kept us from having any costumes for dress rehearsal, it was a piece of cake. I spent the whole week channeling Geoffrey Rush in Shakespeare in Love. Maybe I was on to something.
I’ve been living with The Tempest for about three months now and I’m still not completely sure what it’s about. Perhaps it’s why I love Shakespeare so much. Four hundred years later and we still haven’t completely penetrated all of his secrets and meanings. And has anyone understood the complexities, the joy, the terror, and the opacity of human life as well as he? I always do a bit of reflecting on how the play I am working on reflects current events and what society is up to today. Prospero is an autocrat. He deliberately and wilfully manipulates all of the other characters in the play for his own ends. His population is small but he places each of them in a place where they, in general get what they want.
My first thought was that Prospero is a Trump figure but then I realized something. Trump’s autocratic impulses are about one person and one person only. Prospero’s are not. At the end of the play, he has his rightful place as Duke of Milan but he has lost his powers, his daughter, and his servants so that they can fulfill their proper destinies. And he is OK with that and comes to terms with it in his famous epilogue. He is the anti-Trump. Using powerful means for selfless rather than selfish ends. It’s the underlying arc of the story of Jesus, Obi-Wan Kenobi, and Harry Potter vs Vodemort, a powerful Jungian myth which keeps cropping up in cultural tales as it’s what we know is necessary for the betterment of society as a whole.
I wrestled a whole lot with trying to figure out who are Ariel and the spirits and who is Caliban and Sycorax, his mother (a character frequently mentioned in the original but never seen) – I put her on stage as I had just the right actress at age 87 to provide a balance of old earth magic and age and wisdom against Prospero’s learning and empiricism. I wanted to leave the audience understanding that Prospero is not the sole center of power, but part of a larger cosmos which we may not yet fully understand. It also helps humanize Caliban. I must admit I was a bit goofy with the spirits giving them hakas and hulas and the all spirit kazoo band. It’s not the tack I would have taken if I had a larger budget but many of my ideas had to be constantly adjusted based on technical capabilities and what performers could handle. I’m a fairly fast and flexible thinker and my mantra of taking the simplest solution to problems as we put the production together ended up serving everything well.
I’m tired. Not only have I been Tempest tossed, I’ve also been helping a number of friends through life meltdowns and mental health crises. I think everything is calming down but I feel in need of a glass of wine, bad television and hiding away from the world for a few days. I can feel my brain getting older and more rigid and less able to absorb everything that is tossed at it these days. I’m just hoping it’s not the first fingers of my mother’s genetic dementia crawling along my cerebral cortex.