The Tempest

The Tempest
By William Shakespeare. Directed by Alan Chambers and presented by Sly Rat Theatre Company. Pipemakers Park, Maribyrnong. 17-19 & 24-26 February & 3-5 March 2017.

This quiet riverside location is wonderfully transformed for the radical and often irreverent interpretations of Shakespeare offered by Sly Rat. The unconventional performance of the play is innovative and refreshing while remaining entirely faithful to the text. The show manages to create some spectacular effects in the outdoor location and employs a range of unexpected musical, costuming and lighting choices. The references to 2001: A Space Odyssey (Kubrick 1968) highlights themes such as earthly heritage, rebirth and reinvention of the self through the power of technology.

This performance cleverly manages the challenges of outdoor performances, although background music, wind changes and overhead aircraft did prove difficult at some points. Nonetheless, the text is exquisitely delivered and each word and syllable is beautifully savoured. Prospero (Brendon Ewing) appeared almost superhuman in his efforts. His unquestionable authority is delivered through his towering height, the intensity of his gaze and the power of his voice. Ariel (Craig Cremin) had an automaton or android like quality which could have been exploited more. This very interesting and novel approach to the character tended to diminish his influence over the realm.

Caliban (Seton Pollock) was an absolute feast for the eyes. The costume design gave him incredible presence, and Pollock’s command of the movement the attire elicited enabled him to completely conquer the vast expanse of the performance area. The hard-edged villainy offered by Antonio (Katharine Innes) added to the ironic tone of the play, and this was echoed in the extremely playful rendition of the boisterous Stephano (Katharine Moss).

The Boatswains and The Shapes were a valuable addition to the performance in terms of engaging with the audience, although they sometimes appeared disconnected to the play. Their talents could have been exploited more during the half-hour interval to contain the timing of the performance more effectively. This is a lively and well-managed community event that encourages new perspectives and grand visions of a magnificent theatrical tradition.

Patricia Di Risio

Subscribe to our E-Newsletter, buy our latest print edition or find a Performing Arts book at Book Nook.