{"id":756,"date":"2023-06-07T01:13:42","date_gmt":"2023-06-07T01:13:42","guid":{"rendered":"https:\/\/stageraw.com\/remake\/?p=756"},"modified":"2023-06-12T00:40:01","modified_gmt":"2023-06-12T00:40:01","slug":"the-tempest","status":"publish","type":"post","link":"https:\/\/stageraw.com\/remake\/the-tempest\/","title":{"rendered":"The Tempest"},"content":{"rendered":"[vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]\n

The Tempest<\/em><\/strong><\/h2>\n

Reviewed by Mart<\/strong>\u1f77n Hern<\/strong>\u00e1ndez<\/strong>
\nShakespeare Center of Los Angeles and After Hours Production<\/em><\/strong>
\nThrough April 16<\/strong><\/p>\n

RECOMMENDED<\/em><\/strong><\/p>\n

While inundating storms may have receded recently, another one is brewing over at the Shakespeare Center of Los Angeles which has partnered with After Hours Theatre Company for a sumptuous \u201cimmersive\u201d co-production of William Shakespeare\u2019s tale of revenge, love, and compassion. After boarding the \u201cKing\u2019s Ship\u201d on its journey from Tunis to Milan, we are soon engulfed in a raging hurricane on the Tyrrhenian Sea, replete with thunder and lightning. Along with the stalwart crew, we abandon ship and are stranded on a lush tropical isle. If that ride was bumpy, wander around the environs a bit, grab a drink, then sit and revel in the romantic, dramatic, and comic squalls that are blowing our way. The forecast is for enchantment and poignancy thanks to a resilient ensemble under Ben Donenberg\u2019s elegant direction, abetted by the superb work of the design crew.<\/p>\n

Prospero (a mesmerizing Chris Butler) is the canny sorcerer who rules the island and confesses to his curious daughter Miranda (Kay Sibal), that it was he who conjured up the turmoil bringing the vessel to their shores. He explains that all passengers are safe, that this was by design, and that twelve years ago he was the Duke of Milan but was ousted in a coup d\u2019\u00e9tat schemed by his brother Antonio (an oily Rodney Gardiner) \u2014 who is (not coincidentally) the current duke thanks to the aid of Alonso (Leith Burke), the King of Naples. Prospero was also supposed to be killed but friends spirited him and the three-year-old Miranda away onto \u201ca rotten carcass of a boat\u201d that crashed to bits, though they were provided with clothing, food, and Prospero\u2019s precious books.<\/p>\n

The two conspiratorial monarchs were on board the newly demolished ship, along with Alonso\u2019s own treacherous sibling Sebastian (Christopher Rivera), Alonso\u2019s na\u00efve son Ferdinand (Ulato Sam), and sundry minions of each royal family. With the aid of his servant, the nimble sprite Ariel (Jin Marley), Prospero \u00a0has sorted his strategic hostages about the island and plots to regain his duchy. But tossing a wrench in that plan is Caliban (a nefarious yet aching Wayne T. Carr), a half man, half monster who ruled the island prior to Prospero\u2019s arrival and is now the magician\u2019s slave.<\/p>\n

Anchoring the piece is Butler\u2019s bravura performance as Prospero as well as his heady and fluid\u00a0 grasp of the Bard\u2019s text that makes it easily accessible. At his most blustery, raging over Antonio\u2019s betrayal, or his most tender, vacillating over his contradictory feelings for Ariel, Butler brings a stirring vulnerability to the wronged ruler and, at times, the timbre of a revival preacher. Whirling a staff with abandon, his Prospero is a force to be reckoned with. Sibal\u2019s waiflike, practical Miranda and Sam\u2019s lanky, infatuated Ferdinand make for engaging young lovers, radiating amusing vibes when they meet cute and their romance blossoms, another goal of Prospero\u2019s scheme. The slapstick mischief of Alonso\u2019s jester Trinculo (Daniel T. Parker) and soused butler Stephano (K.T Vogt) is hilarious while skirting the line of fat-shaming. Marley\u2019s turn as Ariel during her tenuous moments with the volatile Prospero is ethereal.<\/p>\n

The horseshoe seating arrangement serves Donnenberg\u2019s intimate staging well, with ensemble members at times close enough to touch \u2013 beware as a performer may fall asleep on your thigh. Dana Rebecca Woods\u2019 costumes, such as Calliban\u2019s brown scaly-skinned leotard, Miranda\u2019s tasseled skirt and skimpy top, and Prospero\u2019s elaborately flowing robe, strikingly suit the characters. Designer Leah Ramillano has crafted an elaborate forest setting that audience members can peruse prior to the show. Festooned from floor to ceiling is green plastic foliage and a raised platform sits upstage and serves as Prospero\u2019s base of operations. Dan Weingarten\u2019s intermittent multi-hued lighting shines through the seams of that station\u2019s wooden planks, setting the mood for crucial scenes. While overhead lighting may be too intense for some tender eyes, Weingarten\u2019s overall plot complements Donnenberg\u2019s elaborately intriguing concept.<\/p>\n

Shakespeare Center of Los Angeles and After Hours Productions,\u00a0<\/em><\/strong>1238 W 1st St, Los Angeles; Thurs.-Sat., 8 p.m.; Sat., 1:30 p.m.; Sun., 2 p.m.; through April 16.\u00a0<\/em><\/strong>https:\/\/www.shakespearecenter.org\/<\/em><\/strong><\/a>. (Running time: Two hours and 15 minutes, including intermission.)<\/em><\/strong>[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][image_with_animation image_url=”902″ image_size=”full” animation_type=”entrance” animation=”None” animation_movement_type=”transform_y” hover_animation=”none” alignment=”center” border_radius=”none” box_shadow=”none” image_loading=”default” max_width=”100%” max_width_mobile=”default”][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"

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