|Sara Morsey as Prospera photo provided|
From the opening, on the unique set on the thrust stage, to the final bow, the Tempest is a first class production. The set is most versatile with a mountain of books that act as an elevated stage to a hidden cave makes the most use of the limited stage area. The downstage has a raised platform to feature the prominent players during their soliloquies. The storm effects are punctuated by lightening and with three rain areas over collecting ponds on the stage floor perimeter.
Action starts with Prospera (Sara Morsey) lamenting. She has been disposed from her Duchy and banished along with her daughter Miranda (Erika Winterrowd) to a remote island. Prospera spends the next 12 years learning how to control the weather. When her usurpers venture nearby, she creates a tempest that runs their ship aground. The King of Naples (Robert Cope) and his entourage are stranded and seek help. His son Ferdinand (Brett Mack) meets and falls in love with Miranda. Revenge, comedy, and romance follow.
Shakespeare plays usually have multiple plots and The Tempest is no exception with three.. Artistic Director Lauren Caldwell has taken some poetic license with The Bard by changing the genders of Prosperous and Antonio. For Shakespearean novices it would be wise to preview the plot on
Casting is outstanding as demonstrated by Morsey who does an amazing portrayal. Winterrowd, sporting a long list of credits, shines and Michael Littig as the chief sprite is delightful.
Laughs come from Caliban (Ryan George), Trinculo (Kenneth Smoak) and Stephano (Logan Wolfe) al a the Marx Brothers.
Iambic pentameter might pose another hurdle for those not familiar with the language of Shakespeare. But for true fans of the Bard, this show is a treat.