The Tempest: Arkangel Shakespeare

Rating:
Summary: This is a review of the Arkangel audio edition of TEMPEST
Review: <The Tempest>, one of the four new additions to the wonderful Arkangel Shakespeare series being published by Penguin Audio, suffers only in comparison with the Harper Audio edition of this play. First of all, the Harper offering is available on cassette and on CD; the Arkangel only on tape. Then the cast of the earlier recording, Michael Redgrave's Prospero in particular, gives a more poetic reading of the text--more of the old school of declamation, don't you know, that pays equal attention to the music of the words as to their meaning. Also the Caliban of Hugh Griffith sound more "in character" than does the strangely accented monster of Richard McCabe on the Arkangel. Bob Peck's Prospero on the newer set is maturer, angrier, and as right in its way as was Redgrave's in his. The older Ariel (Vanessa Redgrave) was more musical, this one (Adrian Lester) stronger and therefore less pathetic. The rest of the two casts are pretty equal, the newer ones profiting of course by better sound. What both sets need badly is a narrator to clarify what is happening during the "special effects" scenes such as the banquet and the masque. I am sure the listener will not be offended at a little "outside the fourth wall" assistance. Which one to pick? I would say that all English and drama departments should have both. The beginner might prefer the new, more vivid, albeit less poetical, Arkangel set.

Rating:
Summary: This is a review of the Arkangel audio edition of TEMPEST
Review: , one of the four new additions to the wonderful Arkangel Shakespeare series being published by Penguin Audio, suffers only in comparison with the Harper Audio edition of this play. First of all, the Harper offering is available on cassette and on CD; the Arkangel only on tape. Then the cast of the earlier recording, Michael Redgrave's Prospero in particular, gives a more poetic reading of the text--more of the old school of declamation, don't you know, that pays equal attention to the music of the words as to their meaning. Also the Caliban of Hugh Griffith sound more "in character" than does the strangely accented monster of Richard McCabe on the Arkangel. Bob Peck's Prospero on the newer set is maturer, angrier, and as right in its way as was Redgrave's in his. The older Ariel (Vanessa Redgrave) was more musical, this one (Adrian Lester) stronger and therefore less pathetic. The rest of the two casts are pretty equal, the newer ones profiting of course by better sound. What both sets need badly is a narrator to clarify what is happening during the "special effects" scenes such as the banquet and the masque. I am sure the listener will not be offended at a little "outside the fourth wall" assistance. Which one to pick? I would say that all English and drama departments should have both. The beginner might prefer the new, more vivid, albeit less poetical, Arkangel set.

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