A Directory of Shakespeare in Performance, 1970–1990 pp 1629-1704 | Cite as
Douglas Campbell is one of those wonderfully experienced players that every theater needs. His avuncular Prospero, kindly yet mysterious, had a power and authority that was not always present in the rest of the cast. Yet Mr. Seale has played his hand well. The lovers, Ferdinand and Miranda, were lovely to look at and spoke gracefully; The Gonzalo of Maurice Copeland was a generous, rich performance. Where Mr. Seale was especially successful was in his handling of the Stephano-Trinculo-Caliban subplot. It is fascinating how one’s sympathy now flies to Caliban—you can conceive of a production of “The Tempest” with Caliban as the wronged black-power hero. Clayton Corbin, this Caliban, does show great dignity. This is a fine performance, which hints at a different dimension to the role. Vincent Park’s drunkenly dignified Stephano, and the ingratiating stupidity of Max Howard’s Trinculo made a telling contrast to the duped Caliban. Yet the entire production had a style and purpose of its own. The former Katharine Dunham dancer Wilbert Bardley arranged the dance sequences with a genuine sensibility, and the settings by James Maronek, simple, yet effective, also added to the total charm of a production that had insight and poetry. (Clive Barnes, The New York Times, 15 February 1970)
KeywordsFestival Director Dance Sequence Magic Trick Original Music Total Charm
Unable to display preview. Download preview PDF.