By Chris Joseph
By Michael E. Miller
By Kyle Swenson
By David Villano
By Kyle Swenson
By John Thomason
By Michele Eve
As Prospero -- the character who is thought to be one of Shakespeare's several portraits of himself -- Matthew Regan is somewhat muted, an old man who's more tired than angry. Prospero's most famous speeches ("I'll drown my book" and "We are such stuff as dreams are made on") have less effect coming from Regan than does the more human-size scene in which Prospero presents Miranda to Ferdinand. Here he's a protective father whose ambivalence about his daughter's marriage almost upstages his happiness at the match. Michelle Diaz as Miranda, however, makes hardly any impression at all.
As for Hamlet, under the direction of co-artistic director Angela Thomas, it has fewer redeeming qualities. I'm a fan of Angela Thomas and cherish the memories of several of her recent performances, particularly her show-stopping turn in Laughing Wild a few seasons back. But I'm not convinced she made many good decisions while directing this production. The blocking -- the design by which actors move across the stage -- seems to be conceived for a much larger space, and the result is that it's difficult to focus on much of the action, because you literally can't see everything that's going on. For example, from more than half the seats in the house, you can't watch Hamlet react as his Father's ghost appears to him.
When you can take in the gigantic tableau, much of it is lacking in directorial imagination. Given the creativity that drives her own acting, I had hopes that Thomas would deliver a Hamlet that turned the liabilities of the tiny theater into assets: Stage the drama in a black space, with no props or costumes, in the manner of Trevor Nunn's famous 1976 studio production of Macbeth. Do away with those awful Druid-tunic-meets-Greek-toga costumes. At the very least, stress some aspect of the story that justifies its resemblance to a creaky high-school production. It's bad enough that many of the actors are carried off by their lines and not the other way around.
As the Prince of Denmark himself, Todd Allen Durkin looks like the portrait of Hamlet on the cover of the Folger library paperback edition of the play -- an elegant youth in a lace shirt holding a dagger, very much the traditional image that we carry of the character. Unfortunately Durkin's performance, albeit polished, doesn't get far from the conventional notion of Hamlet as a moody aesthete rather than a living, breathing guy whose problems we can understand. While Durkin has his moments -- some of them thrilling, even -- he's not consistently compelling, and I often had the sense I was watching someone still learning the role. What's needed is someone we can't take our eyes off.
Fifth Annual Shakespeare Festival: The Tempest and Hamlet in repertory through September 20. Written by William Shakespeare. Directed by Paul and Angela Thomas. Starring Patrick Armshaw, France Luce-Benson, Andre Todd Bruni, Michelle Diaz, Todd Allen Durkin, Mike Maria, Seth Platt, and Matthew Regan. Florida Playwrights' Theater, 1936 Hollywood Blvd., Hollywood, 954-929-5400.