The Tempest, first reaction
Yesterday evening I went to see The Tempest with loreley_se, londinensa and trianne. Bought myself a programme and a set of fridge magnets with shakespearean insults. Rented a pillow for my bum and a fleece for everything else and with a cup of red wine we headed to our seats at the back of the middle balcony. Great view of the stage, but I don't think there are any really bad places. It was my first time at the globe and just sitting there, drinking it all in was wonderful. The theater is absolutely lovely, in and out, and I really want to do the tour next time I'm here in June, because I want to see and know more.
Before the play starts there's a man coming on stage to welcome the audience and ask them to not take pictures or film, and to switch off mobile phones. It's all done in style though and with friendly teasing. They're classy like that. The audience was wonderful throughout the show: no embarrasing moments, laughing and cheering but also being quiet in all the right places. I loved that at the end of the intermission someone walks around clanging a big bell to warn the audience that the play is going to start again.
Just as the play started, it also started raining and we saw the people in the pit getting up their raincoats and hats, so that set the mood for the storm going on at the stage. It only rained for a bit though, so that was good. The boat you see in the promo pictures is carried from the back of the theater, over the heads of the audience, to the stage. When you're in the pit be prepared to have a lot of that. Especially the people in the front row(s) can expect water thrown at them, a jester topling over or hell hounds in their faces.
During the initial storm, the ship we see has sunk, and we get to Miranda, a girl who has watched it happening from the island, who is anxious to know what has happened to the people on board and demands to know from her father if he had any hand in this, thus informing the audience that her father has the power to summon a tempest. The scene in which Prospero tells his daughter how they came to be on this island and why he would sink this ship as vengence is lovely. The love between them is clear and touching, she is a young girl with a mind of her own, full of compassion, eager and trying to be patient, and Prospero is passionate in everything; his anger, his wrath, his love and the way he wants to make sure his daughter knows that she's the light in his dark moments.
Prospero tells Miranda to go sleep (for which the actress had to lie on the stage, luckily out of the way of any rain that may fall, but in the cold in a flimsy dress) and he calls for Ariel.
And that is the first of many scenes where Ariel comes dashing onto the stage. He always comes and goes running, jumping, cartwheeling or swinging from something. And then he stands still to listen intendly, to talk with Prospero, to observe so he can be Prospero's eyes and ears and the report back to him. It's what he's all about. He's a gentle spirit who does his master's bidding, even if he sometimes doesn't understand all those complicated human emotions. He makes sure everything happens as Prospero wishes, because he's promised Ariel his freedom if he does, making sure no more harm is done than is neccessary to get the wished effect.
The scene where you see Prospero talking to Ariel, and Ariel is shouting out, it's when he's just reminded of how Prospero had saved him from his long and painful inprisonment in a tree by a witch who'd died, leaving Ariel to his fate. Prospero threatens to doom Ariel to the same fate. That's where he shouts and I found it heartbreaking, because damn, that's some threat! Ariel is then promised his freedom in two days and he's off, cartwheeling as he goes, eager to do what is asked of him.
Ah, it's so tempting do keep on describing everything like this! Young Ferdinand has reached the shore and Ariel has set it up so that he and Miranda meet on the beach and fall in love at first sight. The romance between Ferdinand and Miranda is utterly adorable. How they're so clearly young and inexperienced, with wide-eyed infatuation, Ferdinand cocky one moment and clumsy the next. Miranda spirited and full of wonder.
The second set to reach the shore are the butler and the jester, with a handy supply of wine. The scenes with them and Caliban, a primitive man who's enslaved by Prospero and mainly wants the damn island to himself, are hilarious, with much interaction with the audience and cause of laughter with their innuendo, burp and pee jokes.
I found the parts where we move to the third party of five which has swam to shore the least interesting with all their plotting and scheming, although I did like the character of Gonzales, who is kind and the voice of reason. It was very satisfying to have Prospero recognize him for the good and trusty person he is.
Throughout all this Ariel wanders among them or watches them from a distance, setting things up in such a way as fits Prospero's plans. There's a dance after Miranda and Ferdinand get Prospero's blessing and they're trying to get to each other while Prospero and Ariel try to keep them apart just yet. There's the moment where Ariel turns up as a harpy to confront the third party with their planned treachery. It's the most visually impressive moment in the play, with Ariel big and booming voice with wings spread out.
Which brings me to how physically demanding the part is and how Colin appears to do that effordlessly. There's a moment when he's at the top of the platform, grabs the edge and then slowly lowers himself, which must require strenght to make it seem easy. I love the contrast between how still he stands and sits and then bursts into action. The stilts for the harpy costume look tricky to balance, especially in moments where he has to rise up tall. And I can't stress enough how much better the harpy costume works then I expected. I also loved the difference between the gentle singing voice and the strong energetic one of the harpy. Ariel is all hopeful cheer, energetic one moment and still the next, defiantly trying to get Prospero to keep his promise, thriving on praise and yearning for love. There's a sweet moment when Ariel observs Ferdinand and Miranda and then turns to Prospero asking him rather timidly 'do you love me master?' and when Prospero doesn't answer immediately there is this soft 'no...?' which got him a heartfelt 'awwwww' from the audience. Good thing Prospero then says he loves him dearly or I would have had to come down from the balcony and bestow some good old Shakespearean wrath all over Prospero.
All the plotpoints come together, as they are wont to do, with a lot of all's well that ends well, and with the audience's applause Prospero is also forgiven and free to go. They end with a jig, which is a complete joy to see. All the cast come on stage to dance to joyous music, staging little moments from the play through their dance. And while they're dancing they all looked so pleased, with wide smiles for eachother. Everyone was just clapping with big grins on their faces. You walk away from this play feeling thoroughly entertained and satisfied.
Damn, my 'first impression' got long... If anyone still has questions, feel free to ask though!
Before the play starts there's a man coming on stage to welcome the audience and ask them to not take pictures or film, and to switch off mobile phones. It's all done in style though and with friendly teasing. They're classy like that. The audience was wonderful throughout the show: no embarrasing moments, laughing and cheering but also being quiet in all the right places. I loved that at the end of the intermission someone walks around clanging a big bell to warn the audience that the play is going to start again.
Just as the play started, it also started raining and we saw the people in the pit getting up their raincoats and hats, so that set the mood for the storm going on at the stage. It only rained for a bit though, so that was good. The boat you see in the promo pictures is carried from the back of the theater, over the heads of the audience, to the stage. When you're in the pit be prepared to have a lot of that. Especially the people in the front row(s) can expect water thrown at them, a jester topling over or hell hounds in their faces.
During the initial storm, the ship we see has sunk, and we get to Miranda, a girl who has watched it happening from the island, who is anxious to know what has happened to the people on board and demands to know from her father if he had any hand in this, thus informing the audience that her father has the power to summon a tempest. The scene in which Prospero tells his daughter how they came to be on this island and why he would sink this ship as vengence is lovely. The love between them is clear and touching, she is a young girl with a mind of her own, full of compassion, eager and trying to be patient, and Prospero is passionate in everything; his anger, his wrath, his love and the way he wants to make sure his daughter knows that she's the light in his dark moments.
Prospero tells Miranda to go sleep (for which the actress had to lie on the stage, luckily out of the way of any rain that may fall, but in the cold in a flimsy dress) and he calls for Ariel.
And that is the first of many scenes where Ariel comes dashing onto the stage. He always comes and goes running, jumping, cartwheeling or swinging from something. And then he stands still to listen intendly, to talk with Prospero, to observe so he can be Prospero's eyes and ears and the report back to him. It's what he's all about. He's a gentle spirit who does his master's bidding, even if he sometimes doesn't understand all those complicated human emotions. He makes sure everything happens as Prospero wishes, because he's promised Ariel his freedom if he does, making sure no more harm is done than is neccessary to get the wished effect.
The scene where you see Prospero talking to Ariel, and Ariel is shouting out, it's when he's just reminded of how Prospero had saved him from his long and painful inprisonment in a tree by a witch who'd died, leaving Ariel to his fate. Prospero threatens to doom Ariel to the same fate. That's where he shouts and I found it heartbreaking, because damn, that's some threat! Ariel is then promised his freedom in two days and he's off, cartwheeling as he goes, eager to do what is asked of him.
Ah, it's so tempting do keep on describing everything like this! Young Ferdinand has reached the shore and Ariel has set it up so that he and Miranda meet on the beach and fall in love at first sight. The romance between Ferdinand and Miranda is utterly adorable. How they're so clearly young and inexperienced, with wide-eyed infatuation, Ferdinand cocky one moment and clumsy the next. Miranda spirited and full of wonder.
The second set to reach the shore are the butler and the jester, with a handy supply of wine. The scenes with them and Caliban, a primitive man who's enslaved by Prospero and mainly wants the damn island to himself, are hilarious, with much interaction with the audience and cause of laughter with their innuendo, burp and pee jokes.
I found the parts where we move to the third party of five which has swam to shore the least interesting with all their plotting and scheming, although I did like the character of Gonzales, who is kind and the voice of reason. It was very satisfying to have Prospero recognize him for the good and trusty person he is.
Throughout all this Ariel wanders among them or watches them from a distance, setting things up in such a way as fits Prospero's plans. There's a dance after Miranda and Ferdinand get Prospero's blessing and they're trying to get to each other while Prospero and Ariel try to keep them apart just yet. There's the moment where Ariel turns up as a harpy to confront the third party with their planned treachery. It's the most visually impressive moment in the play, with Ariel big and booming voice with wings spread out.
Which brings me to how physically demanding the part is and how Colin appears to do that effordlessly. There's a moment when he's at the top of the platform, grabs the edge and then slowly lowers himself, which must require strenght to make it seem easy. I love the contrast between how still he stands and sits and then bursts into action. The stilts for the harpy costume look tricky to balance, especially in moments where he has to rise up tall. And I can't stress enough how much better the harpy costume works then I expected. I also loved the difference between the gentle singing voice and the strong energetic one of the harpy. Ariel is all hopeful cheer, energetic one moment and still the next, defiantly trying to get Prospero to keep his promise, thriving on praise and yearning for love. There's a sweet moment when Ariel observs Ferdinand and Miranda and then turns to Prospero asking him rather timidly 'do you love me master?' and when Prospero doesn't answer immediately there is this soft 'no...?' which got him a heartfelt 'awwwww' from the audience. Good thing Prospero then says he loves him dearly or I would have had to come down from the balcony and bestow some good old Shakespearean wrath all over Prospero.
All the plotpoints come together, as they are wont to do, with a lot of all's well that ends well, and with the audience's applause Prospero is also forgiven and free to go. They end with a jig, which is a complete joy to see. All the cast come on stage to dance to joyous music, staging little moments from the play through their dance. And while they're dancing they all looked so pleased, with wide smiles for eachother. Everyone was just clapping with big grins on their faces. You walk away from this play feeling thoroughly entertained and satisfied.
Damn, my 'first impression' got long... If anyone still has questions, feel free to ask though!