The Tempest

The Tempest is often considered to be Shakespeare's last major play. Therefore it is easy to see why many think Prospero, the leading character, is a sort of picture of Shakespeare on the eve of his retirement; Prospero retires to Milan as Shakespeare did to Stratford and put away his magic staff as Shakespeare did his pen.

Michael Hordern was usually good as Prospero (some unfortunate line readings do not detract too much from the over-all effect.), the wizard of the island which was possibly Shakespeare's representation of the New World, then being explored. (Miranda even famously exclaims, with Aldous Huxley, "O brave new world, that has such people in't".)

David Dixon was the spirit Ariel and, he "almost has on" a sort of thong like the other spirits (dancers) that bring and then deliberately remove a magical meal before anyone has a chance to consume it. Alas, Mr. Dixon isn't that convincing as an actor here; too often he merely throws his lines out in a thoughtless manner. Both he and these other spirits seem more campy than sincere, more softcore gay porn than Shakespeare.

I'm not suggesting that other productions may not have similar displays of near-nudity which W.S. himself might well have appreciated once he got over his initial shock, but a bit more dignity might also have been in order. The "masque" towards the end was both more extended (though slightly abridged in this version.) and better done in my opinion and the music by Joseph Horovitz in this section was quite good.

Pippa and Christopher Guard were good as the young lovers Miranda and Ferdinand but they are cousins in real life and not siblings as someone else stated. The other characters were also well done including Nigel Hawthorne as the drunk Stephano and Warren Clarke as Caliban.

The opening ship scene was almost totally inaudible with the actors' lines overpowered by the sounds of the storm. But I thought that the scenery was perfectly adequate for the purpose of this TV production.

Second in my viewing of BBC Shakespeare adaptations: as with the previous 'Measure for Measure', I'd not previously seen any version of the play, and was only vaguely acquainted with the plot.

Although the vengeful wizard, Prospero and to a lesser extent his sprite aide/conscience, Ariel, are the key characters, the title is an apt one in that it is the eponymous tempest, or storm - brought about by Prospero - which drives so much of the plot in that it causes to bring to Prospero's island those who had most wronged him. Not surprisingly, given that it is one of Shakespeare's later plays, I found it to be one of his most satisfying and intricately plotted, and although officially classed as a comedy, I'd probably also consider it a moral tale, in the choices and decisions it ultimately has Prospero make when he finally has his hated opponents at his mercy. Although I haven't done any further research or re-reading since my only viewing of this production, I was also interested with one of Prospero's speeches where he seemed to be suggesting that much of his situation might be entirely a dream, which would make the plot richer still (And, incidentally, the actual quote "We are such stuff As dreams are made on" was the source for Bogey's similarly memorable "that's the stuff that dreams are made of", from and about 'The Maltese Falcon')

As regards the production itself, I'd absolutely no problem with any of the sets, which more than fulfilled their functions, and allowed for the intelligence of the viewers to flesh them out; the scene where Nigel Hawthorne and Andrew Sach's character first appeared reminded me of various sets for Beckett's 'Happy Days', which is no bad thing. Acting- wise, Hordern was supreme, and well-nigh faultless; I don't understand some reviewers problem with David Dixon's Ariel, as he seemed to me to fit all the requirements of the role. Similarly, Hawthorne and Andrew Sach's characters' interaction with Warren Clarke's hirsute and mildly scary Caliban provided the necessary comic relief, ably, as they did their roles. The remaining performances and characters I'd largely consider functional.

Now I can't wait to compare and contrast with Julie Taymor's much- maligned adaptation; on the evidence of her enthralling and visually arresting adaptation of 'Titus Andronicus', I've no doubt that it will make for a worthwhile watch. On a side note, watching Andrew Sachs in this version, I was reminded of his recent very public 'spat' with Russell Brand and, given that they both played Trinculo, it should be interesting to see whose characterisation is the better one.

The production values are weak, the handling of the spirits is laughable, the wedding masque is tedious, and Ferdinand's hairstyle seems, to our current sense of fashion, ludicrous. BUT this television of Shakespeare's play is to be prized for some excellent performances, most notably Michael Hordern's restrained, intelligent, compassionate and emotionally profound performance as Prospero. Listen to him handle the difficult exposition in Act I, watch how he gives his approval to his daughter's marriage, how he releases Ariel, and the wonderful transition he makes into the final epilogue. There are some fine performances here--you just have to look past some unfortunate design and directorial choices.

Any theatrical repertory company that attempted a full Shakespeare cycle would have some winners and losers. The same is true of the BBC's attempt to commit the Bard to video. This is one of those occasions where nothing much goes right, and the results are a good deal short of satisfying.

Michael Hordern is a choleric Prospero, emphatic in his anger, but he is cold and unpoetic in reconciliation. Perhaps because he was substituting for an unavailable Sir John Gielgud, Hordern goes too far in the opposite direction. This series gave him King Lear, in which he gave the performance of his life, but this Prospero can't be regarded as a success.

The rest of the cast ranges from decent to annoying, but no one emerges covered with glory. Christopher Guard as Ferdinand is well enough, but his cousin Pippa Guard as Miranda winds up with all her stage tricks mercilessly exposed by the camera, without an honest moment ever. The Ariel and Caliban are absolutely predictable, no surprises here.

A word about the physical production: these days we no longer see much in the way of TV studio design, but this series has moments of serious visual beauty. Even at it's most workaday, the BBC designers generally support the play.

Here, unfortunately, the island is ugly. It is not Bermuda, as in the shipwreck that inspired Shakespeare, nor is it some Mediterranean isle between Naples and Tunis, as the text suggests. It is a Northern island, with basalt cliffs and weak winter sun. As a viewer, you wonder why anyone would stay there, and how come they're not working harder to get off of this repellent and most un-magical bit of frigid rock.

The production design does not support the play, it sinks it further. All in all, a tedious misfire.

Teachers should note that Ariel's Catering Service is seriously underdressed. If your class will find a clutch of nearly nude male dancers distracting, at least you'll know they're awake.

Although The Tempest is among Shakespeare's most popular plays and considered by many to be among his greatest, this reflective, thoughtful fantasy is not among his most frequently-filmed. This solid production, made for the BBC's series encompassing television versions of all of Shakespeare's addresses its theatrical and fantastical elements squarely, and comes off well without being great.

Michael Hordern is an excellent actor, playing his fretful, merciful old magician compellingly. His is an avuncular Prospero, and he doesn't really transmit the power or danger of the character. David Dixon, painted gold, gives a very eccentric performance as Ariel. His intentionally mannered speech patterns succeed in their presumed cause of transmitting a primary impression of otherworldliness (with also makes the fact that he's so strongly associated in my mind with The Hitchhiker's Guide to the Galaxy less of a problem). Derek Godfrey just sneers and slithers his way through Antonio. The highlights may be the scenes with Warren Clarke's excellently fierce-yet-innocent Caliban and Nigel Hawthorne excellent as always Stephano.

Camera tricks are employed in force and tread a line between distracting and effectively understated. In all, the story is told through mostly very strong performances and adequate design in which must be considered a success, but not a runaway one.