The Tempest (Shakespeare Center Of Los Angeles 2023 Production) Theatre Review

production photo by Brian Hashimoto

Shakespeare Center Of Los Angeles and After Hours Theatre Company have teamed up to present an exciting new production of The Tempest that contains an immersive element to give the audience an added dimension to the play. And that sense of being part of the action begins before patrons even enter the theatre, with some actors in character interacting with audience members as they check in outside. Then when a group enters the theatre, they find themselves on a boat, having just left the wedding of Claribel to the King of Tunis, as mentioned in the play. Audience members are able to interact with actors, listen to a musician perform (he played “The Wild Rover” and “Drunken Sailor”), and even get a drink of rum (vodka was another option, but I noticed that everyone had chosen rum, which just makes good sense), as well as mingle with each other. Then suddenly there is a flash of lightning and a clap of thunder, and the first scene of the play begins all around us. Now that is a way to get folks involved in theatre!

After being instructed to abandon the ship, the audience “swims” to shore, and has time to explore the island before the play continues. That means getting a chance to look about the set, enter Caliban’s cave, and even go on a sort of scavenger hunt, decoding symbols and finding clues. You can be as involved as you wish, or simply choose a seat and wait for the play to resume (and miss out on a bit of the fun). One element that made me laugh is the swing where Miranda’s height is marked on one wood post, while Caliban’s is marked on the other. And then a bell signals that the performance is going to continue, and we hear cries of “All lost!” again, just to remind us of what occurred before, as Prospero (Chris Butler) enters, his wood staff glowing at one end. Miranda (Kay Sibal) takes good care when handling her father’s magic garment, which is a nice touch. On his “Thou art inclin’d to sleep,” Prospero casts a spell, and catches Miranda, gently helping her to the ground, and we get the sense that perhaps he’s done this before, while she remains unaware. Jin Maley does a wonderful job as Ariel, creating fluid, interesting, even beautiful, movements while simultaneously displaying a subservient position. Ariel’s anger flares when reminding Prospero of his promise, and then soon seems defeated when Prospero in turn reminds Ariel of Sycorax and makes clear the spirit’s service is not yet at an end. Jin Maley is fantastic here, reliving mentally what Prospero speaks of, and making the audience really feel for Ariel. Caliban (Wayne T. Carr) tries to work his own magic when he comes out of his cave, which is wonderful. On his “and then I lov’d thee,” he looks at Miranda, not Prospero, an excellent touch. That, and Miranda’s expression when Prospero says he is going to summon Caliban tell us much of what passed between Caliban and Miranda. Caliban has a great look, by the way, like a piece of the cave from which he’s come.

When Ferdinand (Ulato Sam) is led in by Ariel, he is somewhat frightened, his hand upon his saber, though not drawing it, showing he is as yet unsure whether the voice he hears means danger and is sensible enough to not wish to provoke it. Prospero is delightfully proud and pleased as he watches Miranda look upon Ferdinand. And while the immersive element of the production is largely over once the second scene of the play begins, here Prospero does step into the audience and address certain people. There are a few other moments sprinkled through the performance where a character does the same. The moment when Ferdinand raises his sword against Prospero is excellent, in large part because of Prospero’s expression. He is almost jubilant, flashing a look at Miranda that says Ferdinand is no match for him, before twirling his staff. Another of the production’s best performances is by Peter Van Norden as Gonzalo. He gave what is probably the best Polonius I’ve ever seen in last year’s production of Hamlet at Antaeus Theatre, and here is wonderful as he tries to cheer Alonso (Leith Burke) and the others, seeing the bright side to their predicament, which the others do not. But really, the entire case here is quite good. I like the moment when, after the king and others have fallen asleep, Antonio (Rodney Gardiner) seats himself next to Alonso, his casual demeanor at great odds with what he proposes. He even playfully slaps Alonso’s boot when saying, “Say this were death/That now seiz’d them, why they were no worse/Than now they are.” And his delivery of “Ay, sir, where lies that?” is absolutely wonderful.

The Trinculo and Stephano material is handled well, which is not always easy. When they first enter, they are of course fairly ridiculous and over the top. After all, as far as they know, they are the only ones on the entire island, so any sense of place no longer needs exist for them. When Trinculo (Daniel T. Parker) sees Caliban, his delivery of “dead” is delightful. He moves toward Caliban as if thinking a dead fish will make a splendid meal. And Stephano (KT Vogt) is hilarious when delivering the “man i’ th’ moon” line. Stephano is playful, seeming to have a good time, which then makes the change stronger when realizing Caliban is serious about offering his servitude and worship. And Stephano soon begins to take himself seriously. When seeing a production or reading the play, I never feel that Stephano actually intends to commit murder, but he has to believe briefly that he is capable of it, and his words to that effect have to be believable to Caliban. And we do get that sense in this production. Stephano even frightens Trinculo at one point. Interestingly, when Caliban tells Stephano, “Be not afeard,” he is at his most human and compassionate, though he is still trying to lead him to murder.

When Miranda asks Ferdinand, “Do you love me,” she delivers the question in such a way as to show she has no real experience with love, that this is all completely new to her, which is perfect. And when he kneels and extends his hand, Miranda takes his hand, but then also kneels, mirroring his posture, again showing that she is not familiar with the customs regarding wooing. It’s an incredibly sweet and honest and funny moment. When Prospero delivers his line, “Sit then and talk with her,” he pauses after “Sit then,” only delivering the rest after Ferdinand and Miranda go to embrace, then emphasizing the word “talk.” Another really nice moment is when Ariel asks, “Do you love me,” a question that catches Prospero off guard. It’s a quietly powerful and moving moment. I also love how Prospero becomes almost crazed as he gets close to his goal of revenge. After all, he has likely been thinking of this moment for twelve years. It is Ariel who brings Prospero back to his better nature, his better self, with that simple yet powerful line, “Mine would, sir, were I human.” That leads to reconciliation, to forgiveness. There is an interesting moment where Antonio approaches Prospero as if to possibly offer words of contrition, but then says nothing. But by then, we are more interested in how Prospero will conclude things with Ariel. When finally freed, Ariel’s posture becomes straighter, and the spirit takes a breath of air, as if for the first time. Ariel does not run off, but walks with purpose, with strength, to a brighter future. Caliban too is allowed a moment of coming into his own, helping to create a thoroughly satisfying conclusion.

This production of The Tempest was directed by Ben Donenberg, and it runs through April 16th. Visit the theatre’s website for the complete schedule. There is one intermission, coming at the end of Act II. The Shakespeare Center of Los Angeles is located at 1238 W. 1st St. in Los Angeles, California.