Friday 13th July 2007 at 7.30pm
Saturday 14th July 2007 at 3pm and 7.30pm
Wednesday 18th July 2007 at 7.30pm
Thursday 19th July 2007 at 7.30pm
Friday 20th July 2007 at 7.30pm
Saturday 21st July 2007 at 3pm and 7.30pm
Little Oak Wood, Hampstead Garden Suburb, London NW11
Click here for a map of how to find us
The Tempest is fully cast and crewed, as follows:
Cast
Prospero: Andy Farrer
Caliban: Richard Kinder
Ariel: Alon Witztum
Miranda: Jemima Lane
Ferdinand: Matthew Ali
Stephano: Toby Moore
Trinculo: Amos Witztum
Alonso: Tim Messom
Gonzalo: Tony Newton
Antonio: Christopher Poke
Sebastian: John Colmans
Adrian: Geoff Prutton
Francisco: Michael Berg
Spirits: Hannah, Vanessa
Crew
Directors: Mary Musker, Mark Overall
Production Assistant: Liz Travis
Set design: Andy Farrer
Stage Manager: Terry Rogers
Costumes: Jill Penwarden, Frances Musker
Props: Debbie Lane
Caller: Tamar Witztum
Prompt: Marilyn Greene
Sound design: Miranda Solomons
Sound operator: Robyn Jacobs
Lighting: David Lane, Tim Solomons, Chris Pleass
Ariel's tune-writer: Stiophan Lanigan O'Keefe
Poster design: Jon Musker
Programme: Charlotte Lane
Mary Musker’s
and Mark Overall’s thrilling Tempest
had a warm, vigorous and happy tenor which brought out the theme of peace and reconciliation. We know from the beginning that this
Prospero will use his power to effect a happy ending
The production worked brilliantly in
the open air setting – one of the best I’ve seen.
The beach and the shipwreck where Prospero had made a very comfortable home
for Miranda and himself did seem to
be part of an island- one of “sounds
and sweet airs”. Indeed I was so caught
up that I really was unaware of the traffic.
The play was excellently choreographed,
too, with lightness and speed. The costumes and props ,especially the
radio, added to the fun in this transition in time to the 1920s. Here was a haven
of peace and respite from the growing threat of corrupt and totalitarian governments
which menacing
Prospero is the focus of good and bad
government. He is a man of high moral
sensibility and great intelligence but by focussing on his intellectual pursuits,
he neglects his duty to safeguard himself and he is thus overthrown.
Andy Farrer ably presented a good, regal
man who learns through his experience of banishment and exile that government involves
being totally aware at all times of what is happening on the ground as well as in
the air. He takes stock with calm confidence
and has already in this sensitive interpretation decided against revenge and looks
only for peace, reconciliation and the rightful return of his kingdom.
Andy coped ably with the complex poetry so that we saw Prospero
growing in nobility until the end when he breaks his staff, with a sense of fulfilment
rather than loss as he prepares to return to the real world with all its love and
tensions. But there is always a confident
optimism as Miranda and Ferdinand unite the two houses.
It was a good idea to cast a young girl
as Miranda. After a
rather tremulous start,
Similarly, Matt Ali’s Ferdinand had
a fine stage presence, virile and handsome, a strong voice and confident demeanour,
dignity, love and tenderness towards Miranda.
Matt was very much a chivalrous knight suffering for his lady
fulfilling Prospero’s hopes.
The chess scene conveys the idea that this is a loving relationship based on friendship
between two highly intelligent people
as well as one of strong physical passion. Matt even managed to squeeze out some
humour in spite of there being little to go on, thus adding an earthy warmth to
his character.
I always feel that Ariel has a rough
time but Alon Witzmum gave him an interesting earthiness and once past his attempt
at rebellion follows Prospero’s orders with enthusiastic good nature and fun. Alon moved beautifully and elegantly
and had a fine feeling for the verse.
I felt that this Ariel really deserved
his freedom and indeed I rejoiced with him when he flew off to vanish into the ether.
The spirits were an important and integral
part of this production. An excellent
idea and they were very well played by Alicia Crisp, Va
nessa Williams, and Tamar Witztum.
They moved gracefully and ,like Ariel
,,balanced vigour with the magical.
Richard Kinder’s sensitive and thoughtful
Caliban was no monster but a man of many contradictions.
His accent immediately placed him in a different class and I think that this
is one of the points Shakespeare makes.
He emerged from his hole like a miner from a tunnel, blinking at the light, with
limbs all cramped. Then there is his
lack of self- control, his rages and his
foolish lack of judgement – witness his absurdity in latching on to Stephano and
Trinculo. Yet what a fine and sensitive
sense of beauty. Richard brought out
all the contradictions in him and the pathos of Caliban caught in
a culture he knows nothing
of and which he welcomed at first. Richard and
Andy carefully showed the complexities and contradictions in this colonial
relationship. Can Caliban at the end,
when he has at last had his island restored to him, can he indeed be the noble savage? Would it not have been better if Prospero
had not tried to “Westernise” him?
In the end with pathos and dignity
he accepts the superiority of Prospero over Stephano and Trinculo and will rule
his beautiful island ably and perhaps more fittingly than that which Prospero imposed,
however well –meaning his intentions.
Richard developed a sense of nobility in what was a very well-judged and sensitive
performance.
In Gonzalo, Tony Newton gave us the
perfect councillor, with a calm, moderate voice of reason.
The key features of strength, loyalty, honour, dignity, wisdom and gentleness
were all here. This is a man you can
trust. He had helped Prospero as far
as he could but now he follows the current regime because that is what had to be
done to keep order over chaos and civil war.
However we are never left in doubt as to his real affection: when at last he sees
Prospero and Miranda Tony showed him overcome with emotion and tears of relief and
joy. This was a fine, subtle performance.
Then we start to slide down into those
who would usurp and impose their malign and cynical rule.
In their various ways Alonso, Antonio
and Sebastian are contrasted with Prospero. Alonso didn’t actually usurp but he
did support Antonio. However,Tim Messon’s
sensitive performance shows his grief and also his dignity.
He is controlled as a king should be. He is aware of his duties as a king
should. And he is very ready to mend
bridges and whole heartedly welcomes Miranda as
the queen of
The two villains of the piece, Antonio
and Sebastian, very well played by Christopher Poke and John Colman, were
both weak, malicious and easily drawn to evil, even murder.
They sneer and jibe at Gonzalo, and see no beauty in the island. But whine
for their creature comforts even though Gonzalo points out that their clothes are
fresher than they were.
Prospero’s
demeanour is of calm and dignified good humour,
In contrast, Christopher
drew out every ounce of nastiness: this man is a tyrant.
I felt that the updating was particularly effective here in indicating the
fascist government of
Similarly, John Colmans portrayed Sebastian
as a nasty, malevolent man,
ready to find fault, to grumble and to sneer. Neither he nor Sebastian are
touched by the healing nature of the
island. In fact they revile it. An easy liar, he excuses himself to
Alonso but he is easily tempted to murder by Antonio.
His harsh voice struck a discordant note.
I think that the audience was pleased
to see them slink off at the end, for they are very much not part of the magic circle
of love and reconciliation.
Geoff
Prutton and Michael Berg made a great deal of their small parts.
It was a good director’s touch to place them so prominently so that we got the
impression of more people. Congratulations to
Geoff and Michael for their absolute stillness when required.
Trinculo and Stephano are absolutely
marvellous comic parts which were quite beautifully played by Amos Witzum and Toby
Moore respectively. Physically they
made an excellent contrast with each other and they clearly enjoyed every minute
of their double act with excellent
timing, voice and movement
Amos beamed happily in his inanity. His clothes, voice,
body language and gesture were excellent and kept the audience happily involved.
Toby
One final
point : lighting and music were excellent as of course were
the back stage personnel.
A very, very good production. Congratulations and many thanks.
Mary Musker and Mark Overall’s production of Shakespeare’s ‘The Tempest’ proved to be very interesting. Intelligent and wellspoken but odd in the fact that Prospero was almost a minor character.
The players who remain in the memory were the astonishing Ariel and Caliban. Alon Witztum is a large man but his fine voice and delicate movements had an ethereal quality which made his Ariel memorable.
Richard Kinder's Caliban was also outstanding and his scenes with Trinculo and Stephano were hilarious. Amos Witztum as the Cook and Toby Moore as the Butler were very funny but their humour also had a dark edge.
The king, Alonso and his court were strongly played and retained interest. Tony Newton was an impressive Gonzalo and the scheming Sebastian and Antonio were for once not boring being characterised by John Colemans and Christopher Poke.
Jemima Lane as Miranda and Matt Ali as Ferdiand made great lovers. Andy Farrer’s Prospero was well-spoken and looked grand but strangely low-key.
The sloping acting area was designed by Andy Farrer and Jill Penwarden and Frances Musker, in charge of costumes, saw that all looked fine. One quibble – the interval music was awful. Whoever thought of ‘The Isle of Capri’?!
LÉONIE STEPHEN
This was one of Shakespeare's plays not very well known to me and due to my computer being out of action I was unable to do any research.
So I came to this production "blind" so to speak, apart from knowing the main characters.
It was a fabulous production from start to finish, beautifully staged, wonderfully acted and cleverly performed by a highly talented cast. It was a joy to watch. Directors Mary Musker and Mark Overall had done an amazing job as each character was immersed in their own interpretation and completely oblivious to how near their audience was - no mean feat in itself.
I also loved the various music, film and radio inserts which gave added meaning to this fantasy tale. I loved the magical surreal aspects and invisible spirits plus my admiration went out to the actors with their marathon dialogue. I think I fell in love with Andy Farrer playing Prospero as was so mesmerised by his performance. Having seen Andy act many times before why have I never noticed what a dish he is? As Prospero he was naturally in command, wise and kind in a fatherly manner and truly magnificent. I wanted to jump up and shout Bravo" at the finale but managed to restrain myself somehow.
Jemima Lane made a sweet gentle Miranda. She looked and spoke like his innocent sweet 15 year old daughter and her actions and emotions were in keeping for a young girl in these circumstances. There was great sympathy and a natural empathy between father and daughter which was lovely. In Miranda's scenes with Ferdinand she was naturally shy and hesitant at first, but I would have liked a bit more emotional response from her as their romance blossomed. Matt AH as her beloved Ferdinand was a handsome princely modest character. As the young aristocrat he too was gentle with some sweet innocent expressions. Once he realised he loved Miranda, and his love was reciprocated, I liked the way his realisation at this revelation brought such a joyful response. I also liked very much his respectful manner towards Prospero. This pair made a lovely magical romance indeed. Of course there was a lot of magic in this tale which was extremely well portrayed and staged by all concerned.
Alon Witztum bravely playing the lively Ariel, at turns moody, cheeky or grovelling to his master, as he pursued his wish to be free. Alon is a fine young actor whom I have seen grow in stature over the years and come to admire very much. As Ariel he brought out all the many facets of this complicated character very cleverly not only in word but in his expressions and actions. This was a brilliant portrayal throughout.
His troupe of three spirit helpers, Alicia, Vanessa and Tamar, although they had no actual dialogue, did well in their portrayals with movement, expressions, singing and acting out their roles, so were fully supportive too.
What a great actor Richard Kinder is too. As Caliban the savage deformed slave he was both repulsive and grotesque. Yet somehow managed to bring some sympathy to the role so I could not hate this pathetic creature. He was very funny later on in comic scenes being a drunken fool too. With the arrival of the aristocrats the mood changed completely.
Tony Newton was excellent as the wise counsellor Gonzalo, later turning conspirator but very noble indeed. I loved Tim Messom's wonderful fruity voice playing Alonzo. He was very grand as the King of Naples, full of himself of course and bereft when thought that his son had perished in the storm. Tim really looked and sounded great and I thought he would burst a blood vessel when angry. John Colmans started quite chirpy and jolly as Sebastian. Later when greed overtook his true crafty nature came to the fore when he conspired to kill his brother the King, therefore grabbing his throne. I think Alonso was more than forgiving when the plot was discovered. The other would be traitor Antonio was well played by Christopher Poke. I liked his acting style where he used many grand flourishes too. As the ambitious brother of Prospero he deviously planned and plotted but to no avail as they were discovered thank goodness. These traitors were very lucky that Prospero was so forgiving in the end I thought.
Geoff Prutton and Michael Berg as the two nobles Adrian and Francisco, did not have a lot to do other than look and act cowardly. I have always found it more difficult being on stage not actually doing anything or saying much, but they did keep in character while in the background.
Things really livened up and became a comical farce of the first order when Trinculo the mad cook arrived, hilariously played by Amos Witztum and Stephano the drunken butler, superbly acted by Toby Moore. What a pair of characters these two were, very over the top indeed but who cares as were so well portrayed. Stephano started off as a pompous poet and Trinculo a stupid idiot, but these two gave us the most hilarious scenes in the play and very cleverly done too. Again with poor Caliban they had me in stitches; almost falling off my seat laughing. These scenes were exceedingly well acted and staged to look so naturally funny as slapstick is probably one of the hardest things to do and these three did it superbly.
Finally great set design which worked a treat, marvellous costumes, fantastic makeup, brilliant props, music and sound effects all went to make this another one of GST 's marvellous successful productions which I am going to miss.
Sorry to say this is my last review for you as Paul Holgate will be taking over from now on due to more NODA changes. It has been a great honour and pleasure for me being your Noda rep for these past 8 years and many thanks for the warm welcome and hospitality I have always had from everyone. I wish you well to go from strength to strength in the future and please keep me on your mailing list so I can still come along if time allows it. With best wishes Josie Shingles 20th July 2007