Journal

Kidd Pivot's The Tempest Replica Oct 24, 2012

by Brett Love

It was with great expectations that I made my way across the lake to take part in Kidd Pivot's latest adventure. Their last appearance at On The Boards, 2011's Dark Matters, was my second favorite show all of last year. That's a hard act to follow, but the prospect that it could be done had me very excited to see just what The Tempest Replica would bring. To put it simply, the show delivered on all counts. 

To be a bit longer winded... the show had all those wonderful things that make Kidd Pivot so special. It's dance. It's theatre. It's stagecraft. It's brilliant storytelling. And it is all refined to such detail that it would be hard to suggest anything be changed. The evening is full of moments that just boggle the mind -- the storm, with gusting winds and a torrential downpour, was beautiful and at the same time fascinating in a 'did they just do that?' kind of way -- the shadows and their interaction with the other characters -- the costumes in the first half that do such a great job setting the mood -- the movements that carry over between the two halves for the characters. It was all just so perfect. 

Of course, at the heart of it all is the amazing cast. I was fascinated by Eric Beauchesne's Prospero, and I could watch Sandra Marín Garcia dance all day long. All of which is to say that I loved the show. But really, the thing that is foremost on my mind as I come away from The Tempest Replica is Shakespeare, and all the forms that it takes. You could probably see some form of Shakespeare every month if you really wanted. And those would run the gamut from better to worse. But here's the thing. For me, The Tempest Replica is the best. 

These stories have all been told so many times, and done in so many ways, that it is a rare thing indeed to see a really original take on it. And that's what we had here. It is that familiar story we all know, but presented in a way that makes it new again. It is tremendously effective, and completely engrossing. So much so that if it hadn't already sold out I would be going back for a repeat viewing. This is now the mark that all Shakespeare I see will be measured against. 

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