A Singer’s Notes by Keith Kibler
I must say once more how much Nigel Gore’s Tempest at Shakespeare and Company has meant to me. He helped me to see what it really is. His loneliness dominated, and this was right. I will take this performance as a model of for my adventures on stage, and I thank him.
On Wednesday evening, Nigel Gore’s Prospero gave me The Tempest I have been waiting for. First, and not least, his performance was consistent. I have long waited for a performance that showed the profound loneliness of this character. A temperament carefully hidden makes it clear.
For me Cymbeline is all about the new Blackfriars Theater, an enclosed space, a place to speak quietly, a place lit by candles, a space that found William Shakespeare buying a house in the vicinity, a space for a riot of inventiveness, revived for us by Tina Packer. Think of the bedroom scene where Iachimo examines the sleeping Imogen. This scene played in The Globe would surely have produced some less than elegant speech from the crowd. Shakespeare and Company’s production chose something of a middle way, a humorous assault on Imogen’s person, which must have played better in the Blackfriars Theater, the audience being genteel, and their number being small.
A Singer’s Notes 135: Moonlight and Magnolias at Oldcastle Theatre and the Chiara String Quartet at Mohawk Trail Concerts
In a play that basically pursues one action only, that of completing a script for the film of Gone With the Wind, four excellent actors kept us laughing. There was certainly excess in virtually every aspect of the performance, but it was funny excess.
More in this category
- A Singer’s Notes 134: BEMF intertwines two Pergolesi farces and sublime singing from Dominique Labelle at Aston Magna.
- A Singer’s Notes 133: The Bookclub Play and Shakespeare’s Cymbeline, coming up at Shakespeare and Company
- A Singer’s Notes 132: Lovers’ Spat at Shakespeare & Company; Padmore & Biss at Union College
- A Singer’s Notes 131: A Christmas Carol at The Colonial Theatre