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The Tempest: Visions on Stage and Screen
By: Shelby Thibodeau
Movie adaptations of plays go above and beyond the constraints of the stage to bring the story to an audience, but occasionally lose some of the charm of theatre along the way. It is my belief that not only does Julie Taymor’s movie version of The Tempest capture the true essence of Shakespeare’s words, but Jayne Decker’s stage version also effectively transports audience members to a mystical island full of wondrous creatures.
I remember seeing the movie Mamma Mia when it first came out. It was absolutely stunning; the water was blue, the colors were vibrant, and Greek culture oozed out of the crack in the courtyard. I was so ecstatic when I learned that I would be able to see the stage version on Broadway in New York City a few years later. People had always raved about how wonderful this musical was, and after re-watching the movie a dozen times I could only imagine how wonderful it would be live. Right off the bat I was disappointed. I wanted Greece to surround me, I wanted Mediterranean waters at my feet and I wanted the movie to come to life, but of course, all of that was impossible. This was one of my first lessons in the differences between theatre and film.
With the help Stan Spilecki (scenic design) and Phil Carlson (music composition), Jayne Decker has lept the barrier that has always separated theatre and film. From a ship with masts to the balconies to life-like thunder claps, the ambiance of UMF’s Tempest embodies the essence of not only a rocky island, but the ocean that surrounds it.
From the movie perspective, Taymor fully grasped the magic of Shakespeare’s words. Even with a female lead instead of male (Dame Judi Dench), the film’s story flowed with great ease and grace. Taymor also gave The Tempest a great metal twist when it came to music choices. Although Ariel’s songs floated as delicately as the character, mixed in were some hard rock and metal beats which gave the film a modern edge.
Both adaptations of Shakespeare’s final work are great examples of the variations that come with the freedom of direction, and both manage to stay true to Shakespeare’s vision. I believe that Taymor’s film and Decker’s theatre production work wonderfully hand in hand, and all should embrace both of them in their quest to know the great Shakespeare play, The Tempest.

Knack
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