By William Shakespeare Directed by Jeanette Mason Opens February 13, 2004

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Review
'The Tempest' is alluring fantasy on Playhouse stage
by Rick Gould, Record-Eagle staff writer

"The Tempest," the last extant play by Williams Shakespeare, is being performed for the first time at Traverse City's Old Town Playhouse as a main stage production.

Director Jeanette Mason brings together a mix of OTP veterans and newcomers to good effect.  And to further illuminate the Bard's story for today's audiences, she brought in well-known musician Don Julin to create an original score and also professional actor/instructor Guy William Molnar to work with the actors.

This, with the usual skilled work of the OTP crew, makes it all pay off.  Shakespeare's plot of romance and revenge -- but with happy a resolution -- gets a sturdy telling here.

The story of a cast-off duke who stirs up a tempest to ensnare his enemies while trying to control his daughter's love life and keep his over-the-top underlings in hand is plenty of plot to keep the audience on their toes.  Along with the usual misunderstandings is the twist that five of the male roles are gender-blind, i.e., played by women.

This includes the lead -- Maria McKane as Prospero, who like the character, really knows how to cast a spell.  She galvanizes the character -- and the production -- with great energy, humor and style.

Comfortable with the language, she moves gracefully and forcefully while dispensing Prospero's magic and pronouncements.  McKane's commanding performance alone makes this production worth seeing.

But there are other worthy contributions, including Jan Dalton as deformed slave Caliban and Kendra Marie Wright as the irrepressible Ariel.  Dalton does fine character work as the recalcitrant indentured servant who rails against his captor.  And Wright performs with high spirits, energy and style as her character carries out Prospero's wishes.

Don Kuehlhorn and Denni Don Hunting as the royal entourage offer their usual top support; Bonnie Deigh as Sebastion offers sharp-tongued commentary on the proceedings; and Phil Murphy gives expert over-the-top slapstick as Stephano, the butler who seems to be in charge of the booze.

The production, including set design by Matt McCormick, along with the extraordinary work created by sound, lighting and costuming team, conjures up a visually alluring fantasy.

The original score created by Julin is another high point.  His exotic, humorous, ominous sounds add a great deal of atmosphere to the production.

And director Mason deserves credit for bringing all these creative elements and artists together, creating a stylish telling of "The Tempest."

The few caveats in this production are that this is Shakespeare and so requires patience, though the first act seemed awfully long compared to a seemingly brief second act.  Also keep in mind that the Bard is one of acting's biggest challenges and that some cast members fare better than others -- that's to be expected.  But the entire cast gives it their all.

The one preventable glitch was that the music and sound effects in the opening shipwreck scene threatened to drown out the actors.  Perhaps that has been tempered after opening night.

"The Tempest" is a terrific opportunity for audiences to see, not just hear, Shakespeare performed with great energy and style.

"The Tempest" runs through Saturday, Feb. 28.  Tickets are $14.

An extra performance on Wednesday, Feb. 25, is designated for students and includes a talk with cast and crew.  A student/senior citizen rate of $12 is available Wednesdays and Thursdays.

For tickets. call the Playhouse Box Office at 947-2443: www.oldtownplayhouse.com

Notes from the director, Jeanette Mason
10-10-03
OTP’s 2003-04 production of William Shakespeare’s

Setting:
It seems that many of the films I’ve seems lately are prefaced by “This was based on a true story.” Well, if that’s the current vogue, then the Bard truly is universal in appeal: alive & well & living at the OTP.

Background of the play
The first performance of The Tempest was September 11, 1611.

In 1609 a group of 9 ships set sail from London heading for the colony of Virginia in the New World. Their flagship, The Sea Adventurer, was damaged and thought to be lost at sea. The crew & passengers, however, were able to land on the shores a notoriously dangerous island, referred to in the sailing community of the time as “devil’s island”. Today, this is known as Bermuda. One year later the crew and passengers from the Sea Adventurer turned up on the shores of Virginia, having survived their ordeal and reporting of the resources and beauty of the island.

Now, the OTP will manage to become shipwrecked on an island a bit further south, a generic island in the Caribbean. An evening on a Caribbean island will be just what we need in February!

Auditions
Auditions for the last complete play credited to William Shakespeare are being held November 17,18 and 19 at the Old Town Playhouse from 7:00pm to 9:00 PM. Open auditions are that Monday and Tuesday (17,18) with the 19th reserved for callbacks.

What to do to prepare for auditions.
· You may want to memorize any 5-8-line passage from any of Rebel Bill’s works.
(Maximum 90seconds)…. anymore than that and I’ll cut you off!
Coming with a memorized piece is not necessary.

· Dress in flexible, comfortable clothing.
Every person auditioning (regardless of role you have in mind for yourself) will want to dress in flexible clothing, ready for improvisation as well as cold reading scene work. Improvisation will provide the lion’s share of the audition.

· Relax & enjoy the adrenaline & challenge!

Special casting considerations

Males & females over seventeen years of age are welcome to audition.

Available roles:

Island inhabitants
PROSPERO the rightful Duke of Milan
MIRANDA his daughter
ARIEL an airy spirit
CALIBAN a slave and deformed slave
SPIRITS In Prospero’s service (“the shadows”) 6-9 roles, male or female

The shipwrecked royal court
ALONSO King of Naples
FERDINAND Alonso’s son
SEBASTIAN Alonso’s brother
ANTONIO Prospero’s brother, the usurping Duke of Milan
GONZALO an honest old councillor
ADRIAN lord
FRANCISCO lord
STEPHANO a drunken butler
TRINCULO a jester

The ship’s crew
MASTER the captain
BOATSWAIN
MARINERS

Prospero….. a mother?
I am open to visualizing Prospero as a parent, not necessarily a father but possibly a mother. In other words, women are welcome to audition for the challenging role of Prospero. If a female is cast in the role, the text will not be altered. (i.e. shifting from masculine pronouns to feminine.)

Ariel & “the shadows” or spirits on the island
Both male and female actors throughout history have played Ariel. An actor’s ability to move lithely and gracefully on stage, to be comfortable with dance and choreographed movement as well as being able to sing will be the determining factor in casting the role of Ariel.

The six “shadows” or spirits that aid Ariel may be cast as males or females. The “shadows,” like Ariel, will need to move gracefully and comfortably on stage; dancing and singing.

The spirits (shadows), who should be at least seventeen years old, like Ariel, may be males or females. Again, like Ariel, they need to be comfortable in dramatic skills, dance, and song.

Caliban needs to be a male….of which species we aren’t quite certain. Creativity will determine that. Often played as half-man, half-fish, Cali, as I have started calling him, is not human. He operates from instinct. Like intelligent animals, he can learn and do tricks but has no social or moral code to determine the difference between right and wrong. That doesn’t mean there isn’t a likeable side to Cali. He was living on the island as its master when Prospero literally crashed in and usurped the role of master of the island from Caliban. This was just what Antonio did (Prospero’s brother) when seizing the Dukedom from Prospero in Milan 12 years ago. No wonder Calli is teed off!

Sailors may be men or women. Spirits of Ariel may also be men or women but do need to dance and sing and move dramatically. Spirits will play multiple roles.

More details on Roles & Plot
Four primary roles provide the core of the core of the play. Prospero, the overthrown Duke of Milan, his daughter Miranda and two native inhabitants of the island where Prospero & his daughter are washed ashore after being outsted from their homeland by Prospero’s brother. They find themselves 15 years later living a quiet life of nature and innocence on an island. When they arrive on the island, Caliban, a half-fish, half monster, half man greets them, sharing with them the secrets and resources of the island. Ariel, a sprite is also in residence. Unfortunately, that residence has been inside a pinecone for the past 12 years. Prospero’s magic releases this fairy like creature from the great pain suffered from such diabolical imprisonment. Ariel pledges loyalty to Prospero and acts as his instrument of magic. In return Prospero promises to grant Ariel freedom when the time is right.

Parallel plots to overthrow those currently in positions of power, set the conflict in this story of love and lust. Adding interest, one of the plots is a humorous perspective while the other allows the audience to view the seamier side of this dichotomy.

Prospero’s bother, Antonio, the usurping Duke of Milan conspires with Sebastian, (the brother of the sitting King of Naples) to overthrow King Alonso and take over the leadership roles in the kingdom of Naples. In counterpoint to this viscous and evil plot we are privy to the plot to overthrow Prospero by Caliban, Prospero’s slave, a drunken sailor (Stephano) and a jester. (Trinculo) As Stephano and Trinculo introduce the innocent Caliban to liquor, so does the audience become inebriated with their antics to remove Prospero from power and restore it to its rightful owner, Caliban; the original inhabitant of the island.

Where is the romance in this romance?
Well, It’s been 12 years since Prospero & Miranda were set adrift in a skiff and landed on this gentle island. But now Miranda needs to return to civilization to take her rightful place, get married and raise a family. Hence Prospero conjures a storm to disable a vessel which just happens to be carrying Prospero’s brother(the usurper) the King of Naples and the king’ handsome son, Ferdinand.
Naturally enough its love at first sight when Ferdinand and Miranda set eyes on each other. Is it a wonder? This is the first man Miranda has ever seen. (With the exception of Caliban (the half-man, half-monster she has grown up with) and her elderly parent, Prospero.) Well you get the picture here, I’m sure.

In addition to these roles The Tempest calls for sailors and the Boatswain, some of whom will act as Ariel’s minions. These spirits or shadows can change shape, assuming a variety of roles throughout the play as goddesses, as dogs, and as Prospero’s magical music floating on the air. Like Ariel they need to be fleet of foot and voice.

Other interesting roles include Gonzolo, a counselor of Prospero’s originally and who now serves King Alonso. Adrian and Francisco, two other well-intentioned lords, join with Gonzolo to prevent the over through while still having time to contemplate what an ideal or utopian society might be like.

Themes

Themes abound in this piece. Central themes I’m currently exploring include:
Revenge, Reconciliation, Forgiveness
Power: its use and abuse
Alienation & isolation
Nature vs. nurture
Colonization
Order & Disorder

Challenges & Opportunities

A storm at sea, a ship wreck, and a magically appearing and disappearing banquet are just a few of the challenges before us. Matt McCormick has designed an inspiring set that will serve as a springboard for the production. I am in awe of how Matt has captured the very essence of the play in his design. It is versatile, symbolic, functional, mysterious and inventive! We will need many hands to implement his vision. Dare I say it? (All hands on deck? Yikes)

Renaissance man Mike Nunn will be heading up the construction of Matt’s ingenious design. If you’d like to lend a hand, let one of us know!

Donna Hood will be designing the masks for our spritly spirits & shadows.
While only the costumes for Prospero, Ariel, Caliban and possibly Miranda will have to be designed and built from scratch, we’ll have lots of fun pulling Elizebethan-esque costumes from stock and altering them appropriately. (Yes, the island is Caribbean but those aboard ship are from the “old world.” You need not be particularly adept with a sewing machine to qualify for costuming detail. A willing hand, an experimental nature and a moderate penchant for dressing (undressing?) others, is all that is required.….well a gentle hand with the pins and a delight in laughing helps!

Others included in this awesome production crew are

Co-producers extrodinaire: Diane Hubert and Tracey Towner.
Wendy Kalush has agreed to be my Assistant Director!
Master Electrician, Al Thompson and Master Sound Technician, Gary Bolton, are lending their vast talents to the production as well! Margaret Schaal is heading up our educational outreach programming.

We welcome new recruits to our production team: Cathy Tallman, Bernadette Grouppuso and Rose Marie Fifarek!

Schedule

Auditions: November 17,18, 2003 OTP 7-9pm

Read-through & measurements
Sunday 23 November 3:30 PM to 7 PM location: TBA
This will be a pot luck where we’ll become acquainted with each other and the relationships and plot of the play.

December: 2,3,4,8,10,11,15,16,17,18 specifics of who will be needed at these rehearsals will be determined once all cast conflicts have been registered.

THERE WILL BE NO SCHEDULED REHEARSAL FROM 20 DECEMBER TO 4 JANUARY.
HAPPY HOLIDAYS!
LEARN YOUR LINES DURING THIS HIATIS FROM NIGHTLY REHEARSALS.
(Learn them cold ; so you can say your line given a cue from anywhere in the script)

Please note that while a long rehearsal period is designated, ( other productions and the holidays) , our time on stage is limited. Coming with lines learned is critical.

January 2004 rehearsals:
5 (off book), 6, 7, 8, 12, 13 (yes, if you want to audition for Death & the Maiden, let me know in advance so I can work the rehearsal schedule around it) 14,15,

Set & props fully functional
18, 19, 20,21, 22, 25, 26, 27, 28, 29 (Thursdays are NO EXIT performances so rehearsals will be off-site)

February 2004 rehearsals:
1, 2, 3, 4, 5,
7 Cue to cue
8 all day full dress & tech rehearsal
9,10,11 one of these nights will be dark or scene specific as needed
12 invited guest dress rehearsal

Performances
Feb 13 Opening 8 PM
Feb 14 Valentine’s
19, 20, 21 performances at 8 PM

NB:
February 22:
3 PM o’clock student performance with “talk-down” or a debriefing question & answer period after the show. Cast and crew are expected to stay and participate if at all possible.
February 25:
7 PM performance for students with debriefing post show
26,27
28 Closing night & accompanying festivities
29 ALL JOIN FOR STRIKE. Putting the OTP’s production of The Tempest to bed.

Construction dates:
Set construction will be ongoing through December and the beginning of January. Please check the call board backstage for times you could come to help or contact Diane Hubert, Tracey Towner, Jeanette Mason or Michael Nunn for times and types of work being done.

Set work may happen backstage during rehearsals but you can count on January 3 & 4, 10 and 11, and the 17th for working on all technical aspects of the production from set construction & painting to props building and locating to costume construction. If you know people who’d like to join our merry band (oops guess that’s Robin Hood and an anachronism at that) please contact one of the Production Admin Team.

Director’s Philosophy
I find that rehearsal time and performance times are most productive and fun when the cast operates as an ensemble. The Tempest is perfect for the ensemble concept. Please consider allowing me to determine where your skills and talents will best support the entire production. I know time is a critical factor when considering auditioning for a part. I will do my very best to have 90% of your time at rehearsal in actual rehearsal, not standing around waiting, regardless of the number of lines or time on stage you have.

A strong work ethic yields not only a quality performance, but a vibrant ‘ play ethic’ as well! (Play as in fun, laughing, and feeling great about yourself and your fellow cast members on a job well done!) I expect those who audition and accept a part to honor their commitment to the production by learning lines on time, coming to rehearsal promptly, ready to work and with a willingness to try. I call it risking…. Risk following a direction you don’t agree with, risk stepping out of your comfort zone, risk finding out something new about yourself and others.

Looking forward to new and returning faces and an opportunity to bask in all that lovely language!

Cheer, Jeanette

Contact Information
If you are interested in joining our production crew, want more information on auditions or the productions, or have ideas and or personnel to suggest please contact

Jeanette Mason, Director........................... masonje@chartermi.net 947-0993
Diane Hubert , Producer........................... dhubert@chartermi.net 922 9429
Tracey Towner, Producer......................... traceytowner@chartermi.net 946 3039
Wendy Kalush, Assistant Director............ wkalush@benzie.k12.mi.us 882 0106
Set Designer, Matt McCormick
Master Carpenter, Michael Nunn
Master Electrician, Al Thompson
Head Cutter, Masks, Donna Hood
Master Sound Technician, Gary Bolton

Useful links:
http://www.sparknotes.com/drama/
http://www.thirdculture.com/leon/works/temp.html
http://www.longleaf.net/ggrow/Skspre/SkspreIndex.html
http://www.folger.edu/public/theater/past.asp
http://www.folger.edu/education/education.asp

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