The cast of Chesapeake Shakespeare Company’s “The Tempest.” Photo by Kiirstn Pagan Photography.
Just when you think there’s nothing new you can bring to the theatrical table when it comes to Shakespeare, Chesapeake Shakespeare Company’s (CSC) “The Tempest” does just that. The play represents a bit of a departure from the bard’s usual tragedies, comedies, and histories. Classified by some as one of the “problem plays,” “The Tempest” offers up sprites, magical storms, surrealist landscapes, and ethereal characters. In CSC’s hands, this play becomes a dramatic fantasia apt to delight Shakespeare lovers of any age.
Ultra-fun and exceedingly powerful, CSC’s production grabs hold of all of the senses, not letting go until the very end. Highly recommended.
Prior to the actual play, audiences are treated to a brief musical performance featuring several of the actors. The vocal stylings of the various cast members are highly entertaining, with audiences wont to clap and tap their feet right along. The set design also strikes you before the play even begins. Shartoya R. Jn. Baptiste brings together key thematic elements from the play, harkening at once the bottom of the sea, a rustic and decrepit palace, and a haunted house almost of the Disneyland variety. The scenery certainly adds to the whimsy of the theatrical moment. Augmented by Mark Williams’ projections, the set captures the imagination before anyone steps foot on stage.
A tale of dispossessed dukes and new loves, “The Tempest” as interpreted by CSC makes some notable changes that give this play a different sort of relational depth. Alonso, King of Naples, is now a queen, elegantly and poignantly played by Dawn Thomas Reidy. Antonio, Prospero’s treacherous erstwhile brother, is now his sister as portrayed with both restraint and, at times, an untempered haughtiness by Lesley Malin. Additionally, Ariel, in impish, magical machinations, is helped along by more definitively defined spirits in this version as depicted in the personae of the Spirits of the North, East, South, and West (quite ethereally played by Aura Gallanar, Dorienne Hoven, Christina Krawec, and Mari Andrea Travis).
Christopher Marino as Prospero. Photo by Bea Marino.
“The Tempest” has historically been lauded for the seamlessness of its parallel storylines, such that all manage to come together quite tidily in the end. Prospero (played by Christopher Marino, who does puppet master effortlessly) anchors all of the stories, having his way with absolutely everyone by virtue of his complete control of the island. The restricted Ariel must do his bidding until such time as Prospero sees fit to release the mischievous sprite. For me, among the most memorable performances is that of Noah Haren’s Ariel. His fluidity and sheer agility give the character a truly spirit-like form—an absolute wonder to watch.
Of course, there is also the story of the rather abrupt and magically-incited love bond that occurs between Miranda (Selah Kreeger) and Ferdinand (Drew Sharpe). The ever-watchful Prospero’s plan for cementing this union offers some comical and lighthearted moments amid the din of royal treachery.
Hands down, among the most memorable scenes of the play are those featuring The Queen’s jester, Trinculo (Shakill Jamal) and the Queen’s butler, Stephano (Matt Harris). Jamal and Harris really need to take their show on the road. The comic energy and incredible sense of theatricality the pair exude make this production one to remember. Often accompanied by Caliban (a heartily convincing Vince Eisenson), the trio gets into some belly-laugh-inducing hijinks, the stylization of which harkens to something of a Three Stooges vibe. Rounding out the cast are Gabriel Alejandro as Sebastian, the Queen’s up-to-no-good brother, and Gregory Burgess as the stalwart Gonzalo.
Ian Gallanar directs a production that isn’t afraid to take bold chances. Gallanar’s vision for the play quite nicely fleshes out both the text and the subtext. The beauty of Shakespeare is that his plays are wide open to interpretation. From character iterations to timestamps, taking liberties with these canonical works seems to be the name of the game. Costuming presents some particularly intriguing choices and designer Kristina Lambdin is to be commended. You can tell that Sarah O’Halloran is having a lot of fun with the sound design, capitalizing on the “musicality” of those big moments. Katie McCreary’s lighting perfectly represents the unfettered spirit of the island and its temporary inhabitants.
Overall, this is a solid entrant into “The Tempest” body of theatrical work. Ultra-fun and exceedingly powerful, CSC’s production grabs hold of all of the senses, not letting go until the very end. Highly recommended.
Running Time: Two hours and 20 minutes with one intermission.
“The Tempest” runs through May 17, 2026 at Chesapeake Shakespeare Company, 7 South Calvert Street, Baltimore MD 21202. For more information and to purchase tickets, call the Box Office at 410.244.8570 or go in person Tuesday through Friday, 10 am to 4 pm; email boxoffice@chesapeakeshakespeare.com; or go online.
