“The Tempest” reviewed by Frank Meccia

*** William Shakespeare’s “The Tempest”, often considered his final full-length theatrical work, is a tale of magic, betrayal, forgiveness, and transformation. The Idle Muse Theatre Company’s recent production, directed by Tristan a mystical landscape where every sound and movement evokes an element of Brandon, breathes new life into this beloved story. Staged at The Edge Off Broadway, a small yet intimate venue that accommodates only 42 seats, this adaptation presents a unique opportunity for audiences to experience Shakespeare in an engaging, in-the-round setting, creating a truly immersive environment for the classic tale. Despite the limitations of a 100-square-foot stage—one of the smallest in Chicago—Brandon’s direction uses every inch to showcase the talent of a 16-member ensemble, resulting in a memorable and fascinating performance.

The story unfolds on a distant island where magic and illusion reign, a place where exiled Duke Prospero, played by Elizabeth MacDougald, and his daughter Miranda, portrayed by Caty Gorden, have lived in solitude. This adaptation expertly captures the ethereal atmosphere of the island, transporting audiences into magic.
Brandon’s choice to adapt The Tempest in such an intimate setting brings a unique sense of proximity between the audience and the performers. In this production, the use of space is masterful; actors utilize not only the small central stage but also the aisles and all sides of the theatre. The in-the-round configuration allows the audience to feel like they are part of the island, surrounded by its enchantments and mysteries. Given the limited space, it’s remarkable to see the actors move with precision and grace, particularly as 16 individuals navigate the confines of such a small stage. It speaks volumes about their skill and Tristan Brandon’s clear, effective direction.

Elizabeth MacDougald delivers a compelling performance as Prospero, portraying the character’s dual nature—a wronged duke bent on revenge and a loving father seeking redemption—with depth and nuance. Prospero is the orchestrator of all that happens on the island, and MacDougald’s command of the role is central to the play’s tension and narrative drive. Opposite her, Caty Gorden’s Miranda brings a sense of innocence and curiosity to the island, her reactions mirroring the audience’s own awe at the strange occurrences that unfold.
One of the most intriguing aspects of this adaptation is the decision to portray Ariel, the spirit bound to serve Prospero, with not one but six actors: Mara Kovacevic, Gary Henderson, Connar Brown, Emely Cuestas, Jacque Bishoff, and Emily Pfriem. This bold choice highlights Ariel’s nature as an ethereal and multifaceted spirit, adding layers to the character and providing a visual representation of the spirit’s many forms. The six Ariels move as a coordinated unit, interacting with Prospero and the other characters in a way that creates an otherworldly effect. Their synchronization, both in movement and speech, reflects Ariel’s magical abilities and the fluid nature of the spirit. The costume design, led by Jennifer Mohr, contributes significantly to this effect. The lightweight fabrics paired with LED lighting reflect the shifting temperament of the Ariels, allowing their mood to be visualized in a vivid and imaginative manner.

The role of Ferdinand, played by Boomer Lusink, adds a touch of romance and hope to the play. His chemistry with Miranda is both touching and genuine, providing a refreshing contrast to the darker themes of betrayal and revenge. The scenes between Miranda and Ferdinand serve as a reminder of the purity and innocence that still exist amidst the schemes and illusions conjured by Prospero.
Jennifer Mohr takes on dual roles in this production, not only designing the evocative costumes but also portraying the character of Caliban. Her portrayal of the complex, misunderstood creature is both powerful and poignant. Caliban is often depicted as a mere monster, but Mohr brings out the character’s vulnerability and humanity, making the audience question who the true villains are in this tale of exile and colonization. Her performance invites sympathy for Caliban, highlighting his tragic status as an indigenous being stripped of his home and freedom.

The political subplot of The Tempest, involving Antonio’s betrayal and the subsequent plot to murder King Alonso, adds tension and intrigue to the story. Orion Lay-Sleeper’s portrayal of Antonio, Prospero’s treacherous brother, is suitably sinister, while Jack Sharkey’s Alonso displays the weariness and regret of a king who has lost his way. Eric Duhon, as Sebastian, effectively conveys a sense of danger and opportunism, making the conspiracy against Alonso all the more believable. Xavier Lagunas’ Gonzalo provides a hopeful and kind-hearted counterpoint to these darker characters, reminding audiences of the value of loyalty and integrity.

Despite the number of cast members and the complex web of subplots, the production maintains a tight pace over its two-hour and 25-minute runtime. The decision to perform in the original Elizabethan English helps maintain the authenticity of the play, and the actors’ command of the language ensures that the audience remains engaged and follows the twists and turns of the story. The language, combined with the physical proximity in the small theatre, demands the audience’s full attention, making it easy to become absorbed in the action that unfolds from every direction.

The minimalist set design makes clever use of props and lighting to evoke the various locations on the island, from Prospero’s cell to the tempest-tossed ship. Instead of relying on grandiose stage effects, the production leans into the power of suggestion and imagination. The use of sound is particularly effective, with the tempest itself—a violent storm that shipwrecks Alonso and his entourage on Prospero’s island—rendered vividly through a combination of vocal effects and percussion. This approach emphasizes the magical and illusory nature of the island, leaving much to the audience’s imagination and enhancing the immersive quality of the performance.

Tristan Brandon’s adaptation of The Tempest also emphasizes the theme of forgiveness, a central motif of Shakespeare’s work. As the play progresses, Prospero’s initial desire for revenge gives way to mercy, and the journey towards reconciliation feels genuine and earned. By the end of the performance, the audience witnesses the transformation of a man burdened by betrayal into one capable of letting go of his anger, ultimately choosing a path of forgiveness. This evolution is portrayed with sincerity by MacDougald, making the final scenes of the play both moving and cathartic.

Overall, Idle Muse Theatre Company’s The Tempest is a testament to the creativity and resilience of theatre artists working within the constraints of a small space. The Edge Off Broadway’s intimate setting, combined with the dynamic performances of the cast and the imaginative staging choices, makes this production a standout interpretation of Shakespeare’s work. Tristan Brandon’s direction skillfully brings together elements of magic, humor, drama, and romance, resulting in a performance that stays true to the spirit of Shakespeare while offering something fresh and new.

Audiences looking for an authentic Shakespearean experience in Chicago should not miss this production, which runs through October 20th at The Edge Off Broadway Theatre,

located at 1133 W. Catalpa Ave. With its proximity to the Red Line and ample off-street parking, it’s an accessible venue for anyone interested in experiencing the magic of The Tempest.

Performances are scheduled Thursday through Saturday at 8 p.m. and Sundays at 3 p.m., with general admission tickets priced at $30 and discounted rates for students and seniors.

Call the Idle Muse Theatre Company Box Office at (773) 340-9438 for tickets. Don’t miss the chance to witness this captivating blend of magic, love, and redemption brought to life by a talented ensemble in one of Shakespeare’s most cherished works. For info visit www.idlemuse.org.

To see what others are saying, visit www.theatreinchicago.com, go to Review Round-Up and click at “The Tempest”.