The Tempest

William Shakespeare’s The Tempest, playing outdoors at the State Theatre Centre of WA, was twice thwarted by real-life tempests - but managed to perform most evenings during its short run. Featuring a cast of WAAPA 3rd Year Acting Students, and designed, built and crewed by Production and Design Students, this free production was a wonderful outreach opportunity to find new audiences.

The Courtyard works well as a performance space - acoustics were good and the space is comfortable. Noise pollution was a factor - including a helicopter passing directly over the space, lengthy sirens and noisy motor-bikes - but these were subtly acknowledged by the performers as island noises, and the show continued.
Central character Prospero was played in a lovely cross-gender casting by the beautifully-spoken Stephanie Somerville. She was a strong, central anchoring force and gave an impressive performance.

Laura McDonald was sweet but strong as Prospero’s daughter Miranda, beautifully paired with Mitchell Bourke, making an admirable romantic hero as Ferdinand, son of the Neapolitan king.

The immortals contrasted brilliantly in excellent performances. Jake Fryer-Hornsby moved both nimbly and captured Ariel’s ethereality. Elliott Giarola gave Caliban an earthiness and baseness, yet retained a lovely humanity.

Caliban’s scenes with Joshua Orpin’s nicely sozzled Stephano and Rhianna McCourt’s beautifully crafted jester Trinculo, were audience favourites.

Solid work from all of the shipwrecked nobles. Believable fraternity from Frazer Lee (Alonzo) and Martin Quinn (Sebastian), cool stateliness to some genuine remorse from Roy Joseph (Antonio) and strong support from Jack Scott. Sasha Simon stood out as loyal, and warm-hearted Gonzalo.

Excellent ensemble and vocal work from Nymphs, Spirits and Mariners Charles Alexander, Kingsley O’Connor, Katherine Pearson, Natasha Vickery, Skye Beker and Audrey Blyde.

Performing on an almost bare stage, the production used the courtyard space expansively, moving through the audience and employing balconies. Costuming, for the most part, was simple white attire, with some variation for character. Lighting (Phoebe Pilcher), was strong and emotive.

This production, ably directed by Stuart Halusz, will travel to the Greek Island of Hydra, and will perform at the 4000 year old Hydra Amphitheatre - well worth catching if you happen to be in Greece in early July.

A production with much merit, which deserved bigger audiences. Being free of charge (thanks to the Perth Theatre Trust), I was expecting to have to fight for a ticket. Sadly this was not the case - the audience size was respectable but not packed. These talented, hard-working emerging thespians need our support.

Kimberley Shaw

Photographer: Jon Green