Armfield triumphs with timely Tempest

THE TEMPEST

Review: Stewart Hawkins

The Tempest, Shakespeare's last work, is a tale of magic and mystery, wrongs being righted, and morality and justice winning out in the end. Neil Armfield, who won considerable acclaim for his production of Hamlet last year, has again come up with a simply stunning interpretation of the Bard, combining simplicity of design with complex, contemporary political and emotional overtones.

In a courageous move, Armfield has cast Aboriginal actor Kevin Smith as the character Caliban, and has deliberately loaded the work with the politics of Australian colonialism - something the Elizabethan author could obviously have known nothing about.

But because of the sensitivity of the direction, Armfield's purpose is executed well and, although the condition of the much-abused Caliban does not override some of the more intricate intentions of the piece, his plight does become a more integral issue in the play.

The Tempest works in layers as the magician Prospero, using his magic powers, tries to orchestrate fate - not only to see his innocent and protected daughter right in the matters of love but also to regain his usurped position in matters of state.

Barry Otto was a commanding (but at times vulnerable) presence as Prospero - strong, almost harsh, when it came to directing his minion Ariel (Gillian Jones) but compassionate and gentle with his daughter Miranda (Cate Blanchett).

Blanchett puts in a terrific performance - her ethereal beauty and her characterisation of a woman denied contact with the outside world, gazing in wonder at such "beauteous creatures" (men) gives her a splendid stage presence.

Smith's Caliban is also a wonderful performance.
He is desperate to regain his island but innocent enough to be duped by the drunken revelers who would be kings of their own pocket of territory. Armfield has highlighted the comedy in this piece without losing the mysticism and magic which is cued by the use of simple electric lights and music.

And he has retained the dignity of the characters marooned on the island despite their rough and ready appearance - Areil is a soiled angel, a nymph of the subways rather than of the woods, and Miranda must carry her beauty through her rags.

What it adds up to is one of the gentlest and most sensitive of this work that I have seen.
Nothing is rammed down the audience's throat but no layer is left uncovered. Sensuous and delightful, this is a very special play.

The Daily Telegraph Mirror, Friday June 2nd, 1995.

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Aussie Cate Online © 1999 Lin, Dean, Lance
800x600 screen size recommended.

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