Review- The Tempest- Shakespeare in the Port
19-4-15
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By: Lynn Gong
One of three main productions for this year's Shakespeare in the Port, The Tempest directed by Aska Leung is an 80-minute short but interesting physical theatre piece. Showcasing their talent, the performers perfectly demonstrate the power of physical theatre by some seriously impressive acting. The form of this production is also very enjoyable and fits well with The Tempest as one of Shakespeare’s most self-reflective scripts.
Usually regarded as Shakespeare’s play most filled with theatrical illusion, The Tempest narrates the story of a deposed king and magician Prospero who turns from revenge to forgiveness.
Aska Leung’s production differs from conventional Shakespeare by placing performers right in front of the audience throughout the whole play. Sitting on the front row before the lawn, actors have to constantly shift between their characters in the play and their role as actors. Two seconds after they get up, their bodies swiftly change to their respective characters’ shapes. When they are getting off stage, they face the audience in their characters’ expressions for a moment before they turn their backs towards the audience. This formal device creatively complements the allusions to theatre in the plot and dialogue. Shakespeare in the Port’s outdoor setting makes it easier for performers to interact with the audience and brings about some of the funniest moments. For me, it was also a pleasure to watch how they made the shift in and out of character frequently and seamlessly.
The narrative structure is largely made up of character-oriented short episodes. With minimal setting and props, much depends on the performers to quickly establish each scene and its atmosphere and I love these performers for their really distinctive and professional approach. Their physical acting can build strong and convincing characterization even without the dialogue. Most of their body postures, actions and facial expressions are executed with precision and power. The tension in the plot is therefore greatly enhanced by their body and facial expressions. Tsang Hing Cheung’s rendition of Prospero is a great combination of a rational strategist and a mad revenger. His laugh always comes with full energy.
I also like Minna Cheung’s costume design. The costumes are extremely minimalist but nicely made and very effective. I’m quite surprised when a few actors can change their clothes efficiently to play a different role. They are able to do so in this production within a few seconds by for example adding a simple belt, a hat or a waistcoat.
My only complaint is that the character arc of Prospero is not very clear. There is not enough plot elaboration or changed ways of acting to justify or show the transition in his character from revenge to forgiveness. While Prospero’s desire for revenge is well portrayed, his tenderness for his daughter or his spirit/nonspiritual servants is far less visible in this adaptation, making the ending of forgiveness less persuasive.
So for me, this production offers the right amount of humor but lacks the emotional depth of the original play. It skillfully depicts plotting, power and servitude but is short on the other side of the story.
For a really concise production in Cantonese like this, English speakers should familiarize themselves in advance with the plot.. (There are surtitles but these were not working when I watched the show). If you don't know the play, it may not suffice simply to read the play's summary in the digital program.
Overall, Aska Leung’s physical theatre opens up a refreshing non-verbal dimension to Shakespeare’s word-driven world. With minimal dialogue, this Cantonese production features professional physical acting and makes Shakespeare really accessible to a wider audience - an especially interesting piece to get someone started with both physical theatre and Shakespeare in a foreign language.
Shakespeare in the Port is playing through May 3rd. For more information, click here.
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