Stage Review - The Tempest (BPA)
Stage Review - The Tempest
Presented By: Bainbridge Performing Arts (@ Bloedel Reserve) - Bainbridge Island, WA
Date Reviewed: Friday, June 23, 2023
Reviewed By: Greg Heilman
There’s something about seeing theatre outdoors. It’s like watching a classic film in a movie theater, or playing hockey on a pond, it just feels right, like you’re seeing it the way it was meant to be seen. Experiencing Shakespeare outdoors is even more special. For seven years now, Bainbridge Performing Arts (BPA) has captured some of that magic with its “Bard at Bloedel” series. Through a partnership with the scenic Bloedel Reserve on Bainbridge Island, BPA has presented a series of Shakespeare’s work in a wonderful outdoor setting, including last year’s production of The Comedy of Errors. This year, they’re back at it with The Tempest, Shakespeare’s classic tale of betrayal, revenge, and magic, directed by Kate Meyers and running through July 9.
The Tempest centers on Prospero, the rightful Duke of Milan who had his position usurped by his brother Antonio, who was helped in that effort by Alonso, the King of Naples. Prospero, having fled to an island with his daughter Miranda, plots his revenge on the traitors by using his magical powers to cause a ship containing his brother, Alonso, and their court to wreck, stranding them all on that same island. It’s never entirely clear what Prospero’s initial plan is, other than to cause the shipwreck and strand everyone on the island with him, but that’s ok. The not knowing is a large part of the wonder of this play. Does he want his claim to the throne back? Does he want to simply torture the usurpers? The plot takes a number of twists and turns to get where it eventually does, but it’s the telling of it that is the fun part of all of this, not necessarily the end result. And that’s where this production does very well, in the telling.
Set at the Sheep Shed area at the reserve, the area is transformed wonderfully into what is never in doubt as the deserted island that Prospero has fled to. Well, almost deserted. There is one other inhabitant of the island, Caliban, whom Prospero has basically enslaved to do menial things like gather wood for him. There’s also Ariel, a local spirit, also tied in a way to Prospero, who does most of his bidding when it comes to handling the shipwreck survivors, all of whom believe that they’re the only ones who have survived the ordeal. Ariel is promised her freedom upon helping Prospero carry out pieces of a plan that eventually does take shape into something after the chance meeting between his daughter Miranda and Ferdinand, Alonso’s son. Matthew Lazure’s design of the set is simple, but purposeful, both in function and in presenting a wistfulness to the island setting. It’s very well done, utilizing the Sheep Shed buildings in such a way that seems like they were constructed just for the purpose of the show.
There’s a lot that needs to happen to make Shakespeare work and work well. Whether a production is modernized or meant to feel more traditional, the audience has to be transported to the time and place in which the telling takes place. The set is a piece of that, sure, but perhaps more than anything is the costuming, and here Alison Owen’s design work is just wonderful. Her costumes make Ariel seem lighter than air, make Caliban look like he’s part of the island itself, make Prospero royal, and make Stephano and Trinculo even more fun to watch than they already are. Throughout, the costumes are more than just apparel, they inform the identities of the characters, transforming as they do, allowing the actors to get even more out of these roles, which are full of personality even on their own.
Steve Lambert plays the would-be Duke of Milan Prospero. Steve is magnificent in this role. It’s clear that he has a full grasp of the text, and his delivery is confident and regal, his demeanor commanding. Steve’s Prospero is angry, vengeful, loving, and mysterious. He’s a complex character, one with more than one transformational arc, and Steve makes it look like there’s nobody else but him for this task. Working with, and under the sway of, Prospero is Ariel, played here by Rachel Millett. Ariel is the perfect complement to Prospero. Loyal and mischievous, Ariel is at her liege’s beck and call, but she’s also quite happy to carry out his wishes. This role is probably the most diverse in the play as far as what it asks of its actor. It’s got a decent amount of dialogue, a lot of movement, and a musicality to it, each of which is uniquely suited to Rachel’s strengths. It’s a fun performance to watch and is a nice showcase for this extremely talented actor. Prospero’s other partner in crime, so to speak, is Caliban, described in certain circles as a savage or a monster. He’s enslaved to Prospero, relegated to simple and tedious tasks, things to make Prospero’s and his daughter’s lives more comfortable on the island. Caliban is loyal to his master until he meets Stephano and Trinculo, two of the shipwreck survivors. It’s here where things get interesting for Caliban as he sees a way out of his bondage through these two. Evan Lenz is Caliban and covers this role very well. This is another one with some unique requirements, especially in movement, but Evan handles it with ease. Regarding Stephano and Trinculo, these roles are played by Gary Fetterplace and John Ellis, and the two are so entertaining, providing the lion’s share of comic relief in The Tempest. There is a lot that Gary and John bring to this show that raise the bar on the entertainment factor, without losing its Shakespearean heart. These are fun characters to watch, and seeing them bending the fourth wall a bit makes their work even funnier.
Other highlights in the cast are Blaire Burdey as Prospero’s daughter Miranda and Charley Pope as Ferdinand. Blaire’s Miranda is so full of wonder at everything that is new to her, because, well, everything is new to her. There’s such an innocence to this character and a zeal that can’t help but make the audience smile. Blaire’s performance is sweet, especially in her scenes with Charley’s Ferdinand. They’re the couple that seems to have just fallen into each other and they appreciate every moment, despite some of the other things happening on the island. Other performances of note are James Benson’s counselor Gonzalo as the wise voice of reason, Antonio and Alonso, who are well represented here by Fred Saas and Peter Denis, respectively, and the ensemble (Nancy Nucci, Noa Rehder, Lilah Burkhart, Kendra Truett, Owen Mudgett, Ember Lashmet), which is excellent as well.
Kate Meyers’ cast is well prepared and confident. There’s a lot of preparation required to perform Shakespeare well, and it’s clear that this group put the work in. There are also a number of callouts for work on the creative side to note. Original music from Jon Brenner and Even Lenz, under the direction of Elizabeth Faye, adds another dimension to something that might be a little more dry if the show solely relied on the text, and Kristi Ann Jacobson’s work as text coach surely helped the actors deliver the many lines in The Tempest consistently and confidently. This is a group that it’s clear cares deeply for this show and its source material, and that comes through in every aspect of this production.
All and all, there’s not a piece of BPA’s production of The Tempest that doesn’t hit its mark. It captures all of the magic, humor, and love that Shakespeare intended and does so with a superlative cast and in a most iconic setting at the Bloedel Reserve. In its seventh year, the “Bard at Bloedel” has no signs of losing steam.
The Tempest runs is produced by Bainbridge Performing Arts and is on “stage” at Bloedel Reserve through July 9. For more information, and tickets, visit https://www.bainbridgeperformingarts.org/. Note that this is an outdoor performance and is subject to weather conditions.
Photo credit: Dominique Cantwell