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Review of La Tempestad (directed by John Mowat for the Companhia do Chapitô) at the Corral de Comedias, Almagro, Spain, 23 July 2011

Inside Almagro’s corral de comedias stage, an audience gathered in the open-air theater to experience Companhia do Chapitô’s adaptation of La Tempestad. Electrical lighting and a glow from the night sky illuminated the audience, engaged in waving their abanicos (Spanish hand-fans) to stay cool from the July heat. In continuous use since its construction in 1628, the Spanish patio style-theater houses an elevated stage surrounded by three walls, two levels of balcony seating, and a patio floor. Almagro is a small town outside of Ciudad Real, approximately two hours by train from Madrid. For 34 years it has hosted the annual Festival Internacional de Teatro Clásico, the largest and most renowned international theatre festival in Spain. Chapitô is a Portuguese company in its fifteenth year of producing collective creations and gestural theatre, and this production was no exception. They performed this version of The Tempest in castellano, in Spanish, with just three actors, a long black cloth, and a book. The sparse props, modern casual attire of the actors, and absence of sets allowed the audience to engage with the action onstage outside of a delineated temporal or geographical setting. Each actor played multiple roles, signaled not through changes in costuming or makeup, but through shifts in body language and diction. Under John Mowat’s direction, comedic scenes were added and much of Shakespeare’s dialogue removed to create a fast-paced story that relied heavily on physicality and silence. The show opened with dim blue lighting as the actors used the long black sheet to create the stormy tempest on stage. While they were all underneath the sheet, creating its waves, the book glided seamlessly on top of the waves, only to be picked up by Prospero, who emerged from the tides. With the help of the sheet, the actors posed in snapshot images, creating a tableau vivant of the many characters that would appear on the island. These silent images of the tempest advanced the narrative of the shipwreck without dialogue. Indeed the sheet was such an integral part of the production that it ultimately became the fourth actor. Prospero, played by Tiago Viegas, used the sheet as his magician’s cape. Marta Cerqueira, who played Miranda, was at one point wrapped in