St. Louis Shakespeare performed a version of The Tempest using a period drama approach to the adaptation of the popular play. Acting and stage presence was the centerpiece of this theatrical performance. The main stage was then used for the majority of ongoing events in the play. The set consisted of a background decoration which was a tree set in stone ruins. The ruins created various degrees of elevation which were utilized by actors to support their performance and themes of the play. The set could be used by a character to make a speech or indicate a hidden presence in the background (StLouisShakespeare, 2012). Some elements of the play such as the shipwreck or Prospero’s magic do not fit within the context of the set design.
Since this is an amateur production, it does use elaborate special effects. Lighting was the most common effect since it does not require sophisticated planning. The theater was kept in the dark, allowing lighting to be significantly noticeable. There was the use of both overhead lights and gentle on-stage illumination. For the majority of the play, the lighting was dimmed with the ongoing action being brightly in the center, but at times the whole stage was illuminated. These changes in lighting and technique varied based on the events of the play, which reflects mood and tone for the audience. For example, the color of lighting was modified as part of the magical element for the play.
Audio effects were only used to a moderate extent, mostly to create some resemblance to a supernatural atmosphere through shimmering sounds and gentle music. Loud storm-like sounds were created during the initial shipwreck, but it was overwhelming and made dialogue hard to distinguish. Audio in a theater setting is difficult to manage since it requires professional equipment and real-time editing. However, this performance has shown that special effects must be well-balanced for the production to relay the intended tones and emotions. Despite attempts to add effects to an amateur production, the parts of the play that are easiest to follow were scenes with clear dialogue.
The performance followed the text of Shakespeare’s play, making it a full-length adaptation. However, as with any Shakespearean play, the creators of this productions chose to present their personal interpretation of some elements. The unique aspect for this production that stood out was the representation of the spirit Ariel. Four actresses moving simultaneously were possibly meant to symbolize the multidimensional nature of the magical creature. Although the aspect was unique, it became cumbersome at the time as the presence of so many actresses for one character became detrimental to stage presence and the use of space. However, the acting for the performance was well done, each actor presenting an accurate representation of their character with specific behavior mannerisms. Caliban moved like an animal, representing his inner wild nature. Meanwhile, Prospero maintained the stature of a powerful ruler, confident and in control. The adaptation used traditional costuming for Shakespearean era period pieces, actors wearing armor and robes according to roles. Actors playing characters such as Caliban and Ariel were given abstract clothing and utilized heavy make-up to distinguish themselves as inhuman.
The performance suggests that theater in contemporary culture continues to play a relevant role. Shakespearean plays remain the cornerstone of Western dramaturgy. After watching this adaptation, it is clear that even amateur or low-budget productions can present an outstanding performance which can be enjoyed for recreation. All levels of theater productions serve as a creative outlet and a platform to voice opinion in society (“The cultural evolution of theater,” 2017). The St. Louis Shakespeare Festival adaptation of The Tempest a highlight of the ability for modern theater arts to hold a cultural value despite our world being highly digitized.
References
StLouisShakespeare. (2012). Shakespeare’s The Tempest [Video file]. Web.
The cultural evolution of theater. (2017). Web.