Twelfth Night (Shakespeare By The Sea 2023 Production) Theatre Review

Twelfth Night set

Each summer Shakespeare By The Sea, which is based in San Pedro, takes two Shakespeare plays on the road, performing them in various parks throughout Los Angeles and Orange County. This year, which is the company’s twenty-sixth season, the two plays chosen are Twelfth Night and Hamlet. Last night, the company put on Twelfth Night at Sepulveda Garden Center in Encino, the first time performing at that location. It was a nice park, with trees helping keep the entire audience shaded, something important in the valley at the end of July. The set was a little different than normal, with only the top level allowed to be put up because of some regulation at the park. So some of the action was played on the grass in front of the set, which worked just fine. The set itself is in the general shape of a boat, which keeps the shipwreck that separates the siblings in the minds of the audience throughout the performance.

This production begins with an added brief moment of Viola (Barbara Urich) and Sebastian (Mateo Mpinduzi-Mott) on the boat, reaching for each other and then going overboard off the back of the set, while we hear the sounds of a storm. Then, as is often done, Scene 2 is placed before Scene 1, so that we are introduced to Viola before Orsino. What is interesting about this opening is that while Scene 2 is playing out stage right, the first scene of Act II, with Sebastian and Antonio (Ranier Acosta) is performed stage left, so that we see the similar fates of the siblings occurring simultaneously. It makes for an interesting and moving stage image, of both brother and sister sad, each thinking of the other drowned, and each holding an item belonging to the other. It is also effective in making the audience care about Sebastian as much as about Viola, which is generally not the case. This production then moves to the third scene of Act I, with Sir Toby (Patrick Vest) and Maria (Tara Donovan), who enter through the audience, Toby carrying a drink. On Maria’s “drunk nightly in your company,” she wrests the cup from his grasp. Sir Andrew Aguecheek (Brendan Robert Kane) likewise enters through the audience, and immediately receives laughs from the crowd. Brendan Robert Kane was excellent as Henry VI in last year’s Henry VI Part 2, and he delivers one of this production’s best performances, often approaching the top but never going over. Toby in this scene helps decorate the stage, making it more festive, by hanging several theatrical masks, while Sir Andrew says that he will stay a month longer, adding, “I delight in masques.” He then turns around to see the masks, and exclaims in joy.

Then we meet Orsino (Trevor Guyton), who delivers what is the first line of the text, “If music be the food of love, play on!” Here that first moment is combined with the fourth scene of the play, the first to feature Viola as Cesario. Viola’s expressions when Orsino says “That say thou art a man” and “a woman’s part” are hilarious. Feste (Peter Green) wears a variation of a traditional fool’s outfit, and carries a banjo, which he then uses to accompany his singing. Olivia (Nneka) wears a black shawl over her grey dress to signify mourning for her brother. Malvolio (Jonathan Fisher) is dressed in black to match his lady’s mourning clothes, and has a serious countenance. Jonathan Fisher gave a fantastic performance as King Henry V in 2019’s production of Henry V, and likewise shines as Malvolio. There is an excellent moment as he tries to be funny, to amuse his lady, after the fool has exited, hinting that Malvolio wishes to be all things to Olivia. You get the sense that if he could, he would send everyone else away. There is another great moment when Olivia begins to become interested in Cesario, the change in her expression, and a slight change in the way she holds herself, this new attraction coming as a surprise even to herself. And later this new attraction will cause her to discard her mourning shawl, telling in itself.

Perhaps in part because the first scene of Act II was moved earlier, this production contains an added bit of business where Malvolio tries to give the ring to Sebastian, mistaking him for Cesario. This happens in the spot where Act II Scene i would normally be. He is unable to catch up to Sebastian, and then sees Viola, and Act II Scene ii proceeds from there. The problem here, and throughout the production, is that the actors playing Viola and Sebastian look absolutely nothing alike. And not only Malvolio, but Olivia, Antonio, Andrew, Toby and even Feste mistake one for the other. Of course, there is always a little suspension of disbelief necessary to accept that Olivia, who is in love with Cesario, wouldn’t notice the difference, even when the two actors greatly resemble each other. But here it is ludicrous. They are wearing the same clothes, true, and are roughly the same height, but there the similarities end. But both give such good performances, and the production is so much fun that we do our best to ignore this troublesome aspect.

Feste’s delivery of “O Mistress Mine” contains no sadness, and Sir Andrew dances around in joy while it is performed. And when Malvolio enters to put an end to their fun, Toby, Feste and Andrew take great joy in their play with him. Patrick Vest was excellent as Leontes in the company’s 2018 production of The Winter’s Tale and as Iago in the 2016 production of Othello, and it is wonderful to get to see him shine in this comedic role. And when Maria enters, things become even more fun, for it is she who decides to take their plot against Malvolio to another level. Tara Donovan gave a remarkable performance as Eleanor in Henry VI Part 2, and likewise delivered a distinctive Tamora in 2020’s Titus Andronicus. And she is a delight here as Maria. During Feste’s next song, Viola sits just beneath Orsino, and glances at him with adoration, which he does not notice, a nice touch. And it is on this song that Feste becomes more serious. The gulling of Malvolio is a completely fun scene, as you’d expect from these talented actors. Toby and Andrew conceal themselves upstage of Malvolio (Fabian is cut from this production), and when Malvolio mentions Toby, Toby rises behind him with anger. And when Malvolio mentions a “foolish knight,” Andrew declares proudly and joyfully, “That’s me, I warrant you,” which is hilarious, showing just what a sad character this is, that he is thrilled to be referred to at all, to be thought of at all.  As Malvolio delivers the famous lines about “greatness,” he spins around, creating a funny bit of stage business where Toby and Andrew have to keep ducking down. Malvolio is particularly funny here, and he nearly dances off the stage with the letter. And of course he is also funny when appearing in the yellow stockings. There is a nice moment when Feste, caught off guard by the sight of Malvolio, laughs before continuing with his business. And Feste takes great delight is pretending to be Sir Topas, particularly when going back and forth between Topas and himself. There is also some funny business with Melissa Ortiz as the Officer who has arrested Antonio for Orsino. This production moves at a quick pace, and focuses on the comedy. For example, we in the audience never really feel bad for Malvolio, even when he is mistreated, for we are too busy laughing. Orsino has the last word here, for Feste’s final song is cut.

This production of Twelfth Night was directed by Patrick Vest. There are only a few more performances, so check the Shakespeare By The Sea website for the schedule. There is one brief intermission, which comes at the end of Act III Scene ii. There is a delightful bit of business when Andrew is caught still on stage when the intermission announcement occurs over the speakers, and he looks around, frightened by the unexpected voice.

A Perfect Ganesh (Will Geer Theatricum Botanicum 2023 Production) Theatre Review

production photo by Kevin Hudnell

Will Geer Theatricum Botanicum continues to celebrate its fiftieth year with a production of Terrence McNally’s A Perfect Ganesh. While this company is perhaps best known for its Shakespeare productions, each season delivers at least one non-Shakespearean work. And Shakespeare fans, do not fear, for this play does contain a bit of Henry The Fifth. The main draw of this production, however, is being able to see two of the company’s most talented performers in a more intimate story with a small cast. Ellen Geer (who is directing this season’s Macbeth and Queen Margaret’s Version of Shakespeare’s War Of The Roses) and Melora Marshall (who gives an incredible performance as Margaret in Queen Margaret’s Version of Shakespeare’s War Of The Roses) are magnificent in their roles as Katharine and Margaret, two close friends who travel to India together, each looking for some kind of healing.

Though the text of the play calls for only four actors, productions sometimes add other parts, and this production begins with Shivani Thakkar as an apsara, a female spirit that entertains the gods through dance. And here it is the audience that is entertained by Shivani Thakkar’s graceful movements, as she performs with joy a wonderful solo dance, which combines spiritual and earthly elements, perfect for the story of two women who at times seem lost between those two realms. As her dance ends, she moves through the audience, naturally leading theatre patrons to turn their heads to follow her movement, and it is then that Ganesha (Mueen Jahan) enters behind and above the crowd. What a wonderful way of introducing this god, having the apsara lead the audience to him, and having him begin opposite the area where the mortals will engage in most of their action. There is also a delightful and playful aspect to this god. And then he soon moves down to join the mortals. For this god will play many roles in the play, functioning as a tourist guide for Katharine and Margaret, and for the audience as well. As the scene shifts to an airport, and he tells the audience to imagine it more bustling, this production introduces several people to help with our imaginations, or perhaps as products of our imaginations (played by Sam Brock, Jessica Libero Edwards, Craig “Line” Lincoln, Liza Rash and Anthony Soliz).

Rajiv Shah plays multiple roles as well, beginning with an employee of the airline that has to deal with a testy Margaret, who says she will not get on the plane if she doesn’t have an aisle seat (something I completely understand). Both Rajiv Shaw and Melora Marshall are hilarious in this scene. And when Ellen Geer enters as Katharine, her first line is “O for a muse of fire,” the first words the Chorus speaks at the beginning of Shakespeare’s Henry The Fifth. It is a line she will repeat several times throughout the play. And Ganesha at one point quotes Puck, “Lord, what fools these mortals be.” That is when Ganesha is seated on the wing of the plane. He is there joined by Walter, Katharine’s son, who was murdered by a group of gay-hating hoodlums. As funny as this play often is, there are several heartrending moments, such as when Katharine and Walter talk on the plane and she worries he’ll catch cold without a scarf. Katharine is not only trying to deal with an incredible loss, but with her own unspeakable guilt over the way she treated her son. This play was originally produced in 1993, when the AIDS epidemic was nearing its peak, and anti-gay violence was on the rise. Of course, today, sadly, anti-gay feelings are still prevalent among certain sections of the population, including members of Congress, one of several elements that make this play still pertinent. Walter plays a key part in the story, as Katharine tries to come to terms with her past, though first seeming to look outward rather than inward. And so she sees Walter in many of her interactions, especially in the young gay man she meets in India with whom she shares a passion for Shakespeare, and who joins her in reciting that opening speech from Henry The Fifth. That’s actually a beautiful and moving moment, one of many that could bring tears to your eyes.

As it turns out, Margaret has suffered a similar loss, though in silence. And she has something else she has been keeping from her friend. Both characters seek a healing, and in their search and in their need, they are both compelling and endearing. Who in the audience could fail to relate to these women? Whatever it is in our own individual pasts, it seems that we are all in need of some healing, and some self-forgiveness. And to avoid the pain of looking inward, we first try to find answers and solace by looking outward. As one of the many characters played by Ganesha asks at one point, Why India? Ganesha lists a few alternatives that are closer to home. But those of us in the audience dismiss those alternatives just as the character does. We know somehow that we must go some distance outward in order to fix what is broken inside. The main destination is, of course, the Taj Mahal, which does transform them. But by then, they are clearly ready. And though they’ve referred to themselves as best friends all along, it is then that their friendship really deepens and strengthens. And the special use of lighting in that moment seems to include the entire audience in the transformation as well. Perhaps the healing we need can be found in the theatre itself. We share Katharine’s enthusiasm when she says she is in paradise and calls it a dream.

This production of A Perfect Ganesh was directed by Mary Jo DuPrey. It runs through October 7, 2023, being performed in repertory with Macbeth, Queen Margaret’s Version Of Shakespeare’s War Of The Roses and A Midsummer Night’s Dream. This is one intermission. Visit the theatre’s web site for the complete schedule. Will Geer Theatricum Botanicum is located at 1419 N. Topanga Canyon Blvd., in Topanga, California.

Julius Caesar (Independent Shakespeare Company 2023 Production) Theatre Review

William Shakespeare is a master at showing how easily a crowd can be manipulated, how easily a mob can be led and misled. He does it in The Second Part Of King Henry The Sixth, and he does it in Coriolanus, among other plays. Probably the most memorable and striking instance of this in his work occurs in Julius Caesar, when first Brutus and then Marc Antony take the same group of people in two completely opposing directions, and apparently without the people realizing it. Julius Caesar is about specific people in a specific time, but what the play has to say could not be more relevant to our time (and probably, sadly, to all times). And in the Independent Shakespeare Company’s current production of Julius Caesar, directed by David Melville, the audience itself becomes the mob, making the point even more clear. The audience is directed what to say using two television screens above the stage, itself rather telling. Sure, it’s a practical and easy way to inform the audience of its lines, but it seems the company is also remarking on how television or computer screens influence what people are likely to shout out in public spaces, how screens themselves manipulate crowds.

This summer marks the Independent Shakespeare Company’s twentieth year of providing free Shakespeare performances to the folks of Los Angeles, and its fourteenth at Griffith Park (before that, the company performed at Barnsdall Park). The last two years, the company put on its summer productions in a spot farther up the hill in Griffith Park, while ground was broken for what will be a permanent theatre in its regular spot. And while that construction is not yet complete, this summer the company is back at its normal spot at the old zoo (much closer to the bathrooms, which is helpful during intermission). And the company kicks off its twentieth season of Shakespeare in the park with its first ever outdoor production of Julius Caesar. Before the performance begins, Cinna the Poet (Kelvin Morales) explains the vocal participation required of the audience, and soon the crowd is cheering “Caesar!” And Julius Caesar (David Melville) enters through the large double doors upstage center. Before long, he is within the crowd, shaking hands, essentially wooing the crowd, and of course doing so with a certain amount of humor, such as David Melville is known for. And since the audience has become in fact part of the performance, it makes more sense than ever for other characters to enter through the crowd, as does the Soothsayer (Daniel De Young) to give his famous warning to Caesar.

It isn’t just the crowd that is manipulated in this play, but individual characters are influenced and played upon by other characters. Sabra Williams does a tremendous job as Cassius, particularly when trying to influence Brutus (William Elsman) to turn against Caesar. And when Brutus says that he fears the people choose Caesar for their king, Cassius’ “Ay, do you fear it?” is spoken pointedly, which is great. And when Cassius imitates Julius Caesar, saying “Help me, Cassius, or I sink,” Sabra Williams make Caesar sound like a weak child, which is perfect, especially to make the contrast even greater with the line about Caesar now becoming a god. Sabra Williams was excellent as Tamora in the company’s 2018 production of Titus Andronicus, and she again gives one of the night’s best performances as Cassius. And William Elsman does a great job as Brutus, his changing thoughts clear in his expressions as Cassius works to convince him that Caesar has grown too big. Julius Caesar then leads the others in through the audience. Caesar’s “He thinks too much: such men are dangerous” is one of many lines in this production that stand out for their relevance to our current political climate in the United States. Does that not seem like something a Republican might say? Caesar and the others move upstage, facing away from the audience, while Cassius, Brutus and Casca (Richard Azurdia) speak downstage. Like David Melville, Richard Azurdia has an undeniable knack for comedy, and so he finds the humor in the character of Casca and in the situation. Particularly funny are his expressions as he looks around to make sure he is not being overheard when talking about Caesar refusing the crown. Sometimes he even directs his gaze at specific audience members as if they are paying a little too much attention to him. Another line that stands out because of its unnerving bearing on one twisted group in the U.S. is Casca’s “if Caesar had stabbed their mothers, they would have done no less.” Trump supporters in recent interviews have made clear that their support for their leader is unwavering no matter what crimes he commits.

William Elsman is particularly good in the scene where Brutus is working out his own thoughts regarding Caesar’s fate, receiving some aid from his tired servant Lucius (Jordan Anderson). When the other conspirators enter, they are hooded. As Cassius introduces them, each pulls back his hood, and Casca especially enjoys revealing his identity, again finding humor in the situation. There is an additional bit of silliness when Brutus and Cassius step aside to speak and Cinna the Senator (Daniel De Young) pulls out a bag of potato chips to munch on while he waits. It gets a big laugh, of course, but what it also does is connect the past with the present. Interestingly, it is on the phrase “That welcome wrongs” that Brutus removes a dagger from the bag of weapons that was brought in. Could it be a subconscious comment on his very action? Each of the others then likewise takes a dagger. It is also interesting that Portia (Jacqueline Misaye) enters upstage during the conspirators’ conversation, unseen but listening, something not indicated in the text. She then ducks out again before Cassius says “disperse yourselves.” She does then make her regular entrance, and her having heard some of the conversation adds a different tone to what she says here, such as her line “Make me acquainted with your cause of grief,” since she in fact already has some idea. Portia changes tactics, taking on an anger when her sweeter disposition does not have the effect she desired. It is then that she finds the dagger in her husband’s belt, and threatens to use it on herself on “Giving myself a voluntary wound.” It is clear that she is as strong a person as Brutus, a good match. And there is a really wonderful and surprising moment when Portia is alone, walking slowly upstage after Brutus has left.

When Calpurnia (Carene Rose Mekertichyan) begins to tell Caesar of the odd things that have happened, Caesar shakes it off, not taking it seriously. At least not at first. That gives us the sense that his wife is prone to unnecessary worry. But when he hears that the augurs could not find a heart within a beast, he becomes alarmed. It is interesting that both Portia and Calpurnia at some point kneel to make their points. Calpurnia’s kneeling works on Caesar. I mentioned earlier how there is a lot of manipulation within this text, and in this scene Decius (Kelvin Morales) manipulates Caesar himself with his own favorable interpretation of Calpurnia’s dream. When questioned directly earlier, Caesar responded by putting on a show of strength. But phrasing it in a way that is complimentary, as Decius does here, leads to him being easily persuaded. That reminds me again of a certain man who recently occupied the White House. One could have gotten him to do absolutely anything if the request was colored with compliments and praise. David Melville’s delivery of “How foolish do your fears seem now” is delightful.

The audience chants “Caesar,” as directed by the television screens, and Caesar enters with Marc Antony (Hiwa Chow Elms), who is wearing dark sunglasses like a bodyguard or secret service agent. Trebonius (Patrick Batiste) soon leads Antony away, so that the others may fulfill their pact. The assassination of Caesar is handled incredibly well in this production. After Casca stabs him, Julius Caesar picks up the same dagger to attack him, and it is only then that the others spring into action, adding their cuts. Cassius actually pushes Brutus toward Caesar, and in that moment of hesitation on Brutus’ part Caesar delivers his famous lines. But when Brutus does act, it is with strength and determination, and Caesar’s death is wonderfully bloody and not at all rushed. What is also fantastic is that brief moment when they are somewhat stunned that they’ve actually done the deed, the spell broken only when Cinna the Senator then speaks. It is an incredible moment. Antony then enters through the audience, and takes measure of what has happened before speaking. Cassius advances as if to kill Antony, the others quickly following, until Brutus stops them. When Brutus says “The multitude, beside themselves with fear,” it is those in the audience he is referring to, and he steps downstage to deliver that line. It is interesting how Brutus has become the leader of the group, much to the dismay of Cassius.

The Plebeians’ line “We will be satisfied” is shouted out by the audience. And it is this scene where the crowd really plays its biggest part, first chanting the name “Brutus” and then demanding of Antony, “Read the will!” Hiwa Chow Elms is fantastic in this scene. This is when the crowd is most manipulated, but what those in the audience quickly learn, and can’t help but see, is that it’s fun. It’s fun to take part. Of course, here in a theatre setting, it is harmless. But those in the audience must go away from the theatre with a sense of how certain mobs can be drawn into the excitement and fun of those moments, the energy of those around them feeding their own desires. And that leads in the play to the death of Cinna the Poet, a person uninvolved with the conspiracy, but having the misfortune of sharing a name with one of those involved. What is interesting – and frightening – about this is that the mob acknowledges that he’s not the Cinna they are after but kill him anyway, so caught up are they in the bloodthirsty frenzy. One of them says to kill him for his bad verses, and the audience, as instructed, shouts “Kill him.” Because, really, in the end, it’s about the excitement, and not about any ideology or sense of right and wrong. I wonder how many people in mobs are aware of that. Probably none.

The scene with the rift between Cassius and Brutus is excellent, featuring powerful performances from both actors. And then as they make their plans to meet at Philippi, a sense of doom hangs over them, and they know it. When the Ghost of Caesar enters, it is through the audience, never actually stepping onto the stage, which works quite well. The battle is brief, performed in slow motion in red light and fog, while a warlike, ominous pulse sounds. In this production, Brutus does not ask anyone to help him to his end, but stabs himself. Much near the end of the play is cut, including Octavius’ final lines, so in this production it is Antony who speaks the last words. The end does feel a bit rushed, but this is nonetheless an outstanding production.

This production of Julius Caesar plays every Wednesday, Thursday, Friday, Saturday and Sunday through July 30, 2023, with a 7 p.m. start time. In the past, this company has performed two plays in repertory, but this season the next play (A Midsummer Night’s Dream) will not begin until this one concludes. There is one intermission, which comes at the end of Act III scene i. There was a humorous moment last night during the intermission when on the television screens appeared the words, “Take your seats,” and some children near the front shouted out, “Take your seats,” just as they’d been directed to.

The Tempest (Antaeus Theatre Company’s 2023 Production) Theatre Review

production photo by Frank Ishman

Antaeus Theatre Company delivers what is probably the most fun production of The Tempest I’ve seen. And the fun begins the moment the audience enters the theatre, with the cast already on stage, jamming. Yes, jamming. There is a drum kit and an upright piano in the center of the stage, and there is an electric guitar and some other percussion instruments throughout the set. The play has a modern setting, sort of, with a worn brick wall upstage and a spiral staircase stage right of the piano and drum kit, and with a series of microphones set up downstage, as well as on a table. I say “sort of,” because the real setting here is our collective imagination, which is timeless. For the magic of the play is here, undeniably, amid the modern instruments, props and clothing.

At the start of the performance, Miranda (Anja Racić) leads the group in a delicious jazzy number, while Prospero (Peter Van Norden) enters quietly behind her, taking a seat at the table before his book. Peter Van Norden just a few months ago played Gonzalo in a different production of The Tempest, and here gives yet another phenomenal performance. He has become one of my favorite actors to watch on the stage, and leads a rather extraordinary cast in this production. As the song continues, Prospero makes a motion with his hands while reading from his book, and suddenly the lights change and we are in the storm of the first scene of the play. The suddenness of the storm catches the audience by surprise as much as it does the characters on stage, a thrilling moment. The storm’s abruptness, and the way it interrupts the merriment, is a great way of introducing the element of magic immediately, showing that this is no natural storm. The actors deliver their lines into the microphones, facing the audience, and there is the sense that we are witnessing the recording of a radio drama, particularly as the actors use small hand percussion instruments to create the noises of the storm and the boat creaking and so on as they speak their lines. It is an unusual approach, and creates a rather compelling effect.

When Prospero repeats, “No harm,” the sounds of the storm cease, surprising Miranda. As Prospero relates his tale to her, the lights focus on those two characters, but the other actors remain on stage, watching from the shadows. Then when a character is mentioned by Prospero, he or she steps forward, with both a sound and light cue accompanying the introduction. It is a playful way to introduce some of the characters, and also helpful to those who might not be already familiar with the play. Interestingly, after Antonio (Bernard K. Addison) is thus introduced, Miranda seems to catch glimpses him, and it is her looks to him that lead to Prospero’s repeated questions as to whether she is paying attention to his tale. Also helpful to anyone unfamiliar with the play, parts of the tale are acted out while Prospero speaks to Miranda. For example, we see Antonio slip Alonso (Adrian LaTourelle) some money downstage when Prospero speaks of “tribute.” As fun as this is, and as quickly as this production moves (and it does seem to fly), the performance knows exactly when it needs to focus on more intimate exchanges, such as that absolutely touching moment when Prospero tells Miranda she was “a cherubin.” And later when Ariel asks Prospero, “Do you love me, master?”

The relationship between Ariel (Elinor Gunn) and Prospero is immediately clear. We hear in the way Elinor Gunn delivers the lines “Not a hair perish’d” and “Safely in harbor” that Ariel is a bit tired of the questioning. After all, when has she failed Prospero? And when is Prospero going to come through with his end of the deal? I love the annoyance in her voice when she recalls, “once/Thou call’dst me up at midnight.” Who wouldn’t be annoyed at that? And her annoyance increases when she asks, “Is there more toil?” Though she is a spirit, there is also a very strong human component to this Ariel. Caliban (JD Cullum) enters crawling under the table. And on his “was first mine own king,” there is something regal in his delivery, and in his posture, which is interesting. Though he will be called a monster throughout the play, and though he has a fuzzy tail, Caliban, like Ariel, has a strong human quality. And he has within himself the possibility of power, a hint of which the audience sees quite early on. In this production, the “Abhorred slave” speech is delivered by Miranda, following the text, whereas in many productions those lines are given to Prospero.

When Ariel leads Ferdinand (Peter Mendoza) about with her song, she is absolutely delighted with the effect she has on him. She is enjoying herself immensely, which is wonderful. Prospero watches the action from his spot at the table. Miranda also remains at the table, but facing away from the action. Peter Mendoza is particularly good when Ferdinand meets Miranda, first acting out his speech, assuming she does not understand his language, then thrilled to find she does. After Miranda says “the first/That ere I sigh’d for,” Ferdinand then sighs himself. It is a knife, not a sword, that Ferdinand draws, leading to Prospero saying “put thy weapon up” rather than “sword up.” There is a cute moment then when Ariel catches Ferdinand’s knife in a basket, while wearing protective glasses. And later I love how Ferdinand tries to show off for Miranda, going about his log-carrying work with more enthusiasm. There is an interesting use of the microphones in that scene as well, with Ferdinand slowly getting closer to Miranda, microphone by microphone, until they share one.

Three of the characters who are male in the text become female in this production. Obviously, as already mentioned, there is Ariel, who is usually portrayed as female. But also Gonzalo and Trinculo here become Gonzala and Trincula. Sometimes problems and complications arise when a character’s gender is switched (for example, a female Malvolio in a 2019 production of Twelfth Night certainly changed things). But that is not the case here. Even Miranda’s lines about “How many goodly creatures are there here” seem to lose none of their power. And besides, Saundra McClain and Erin Pineda give such great performances as Gonzala and Trincula respectively that there is no lingering doubt about the wisdom of the change in gender. When Alonso tells Gonzala “My son is lost,” he stresses the word “son,” giving the impression that his son is more important to him than is his daughter. And when he says, “No, no he’s gone,” the line is spoken with a resigned sadness that is touching. And when Gonzala says “all men idle,” her gesture includes those in the audience. Her “And women too” has a different sense, a different sort of humor, since she is a woman. It works quite well. Antonio and Sebastian (John Allee, who also plays the upright piano) enjoy teasing Gonzala, not taking her, or any of this, seriously. When Gonzala and Alonso sleep, it is in a seated position on the piano bench. I love Antonio’s delivery of “O what might,” for we clearly see his thoughts then, how they’re bending toward mischief. Sebastian’s “Draw thy sword” becomes “Draw thy knife” in this production, with both Sebastian and Antonio carrying knives in their pockets.

Trincula is a delight, delivering her lines almost as if she were performing standup comedy. The drummer (John Harvey) even gives her a rim shot at one point. When she hides, she lies next to Caliban, not on top of him as is sometimes done. In an interesting bit of double-casting, Adrian LaTourelle plays Stephano in addition to Alonso. (And if your mind immediately jumps to the play’s final scene and wonders how one actor accomplishes both roles, well, I was wondering the same thing, and was delighted by the solution). Stephano wears a traditional cook’s outfit, including the hat, and is hilarious as he enters, singing. Caliban belches, leading to Stephano’s “How now, mooncalf?” Caliban then takes up the guitar to sing his “Farewell, master” song, a rousing, rocking number. When Caliban, Trincula and Stephano next enter, they are drunk, and Caliban and Trincula fight over a microphone. Because both Ariel and Trincula are female, it is much easier for Ariel to fool Caliban by imitating Trincula’s voice when taunting, “Thou liest.” At one point Trincula bites Caliban’s tail, adding humor then to Stephano’s “Now forward with your tale.” Caliban has a sweetness to his speech when talking about the sounds of the island. And, when alone, he raises his arms, as Prospero had done earlier, as if he is able to command or orchestrate those sounds, which is a wonderful touch. Again, it makes the audience think about how Caliban might have been had Prospero and Miranda never come to the island, reminding us of his earlier line “was first mine own king.”

When Ariel delivers her “You are three men of sin” speech, she wears a feathered mask. And on her delivery of “did supplant good Prospero,” the three look up in surprise and recognition. During the masque for Miranda and Ferdinand, Ariel sings with the band, and the actors hold globes which Prospero with his magic lights up. They all then join in song, a beautiful moment. And so when Prospero says, “These our actors,” there is another layer to that line. Peter Van Norden’s delivery of that famous speech is incredibly moving. And when he tells Ariel, “This was well done, my bird,” the line works even better because of her having earlier worn that feathered mask. Another of the production’s most striking moments comes when Ariel says “were I human,” for it is then that Prospero turns to face her, and a change comes over him. The line “The rarer action is/In virtue than in vengeance” really stands out in this performance, and you could feel people in the audience taking it in when Prospero spoke it, seeing how it applies to their own lives. It is a good thing to keep in mind in these divisive and violent times. When Prospero tells his brother, “I do forgive/Thy rankest fault,” he embraces Antonio. But Antonio does not return the embrace. Rather, he removes the ring which signifies possession of the dukedom and lets it fall to the ground. Interestingly, it is Sebastian who picks it up and hands it to Prospero, showing that Sebastian but not Antonio redeems himself, a really nice choice. On Miranda’s “O brave new world/That has such people in ‘t,” she takes in the audience.

So how does Adrian LaTourelle manage to be both Alonso and Stephano in that final scene? Well, let’s just say he gets a bit of help, magic help, from Ariel. As for Caliban, this production has done a thorough job of showing him to have some inner strength, some sovereignty. And that pays off well in the play’s final moments, when Prospero, rather than breaking his staff and burying it in the earth, passes it to Caliban, thus returning the island to him. Interestingly, Prospero’s “draw near” is delivered to the other characters, who then all see Ariel. It is an absolutely wonderful ending to an extraordinary and incredibly fun performance.

This production of The Tempest was directed by Nike Doukas, and it runs through July 30, 2023. Visit the theatre’s website for the complete schedule. There is one short intermission, coming at the end of Act III scene i (but don’t dillydally in the lobby because you’ll miss some of the fun as the band strikes up again and the cast engages in some dancing). Antaeus Theatre Company performs at Kiki & David Gindler Performing Arts Center at 110 East Broadway in Glendale, California.