Posts Tagged ‘the tempest’

STLSF’s Streamlined “Tempest” Creates a Fast-Moving, Fascinating World on Stage

Posted in St Louis Theatre, tagged , , , , , on June 1, 2026| Leave a Comment »

The Tempest
by William Shakespeare
Directed by Rick Dildine
St. Louis Shakespeare Festival
May 29, 2026

Zay Williams, Nancy Bell, Sigrid Wise, Eliza Pagelle
Photo by Phillip Hamer Photography
St. Louis Shakespeare Festival

The Tempest at St. Louis Shakespeare Festival is a wild ride, with the audience brought along on a magical, musical journey of wonder, surprise, and emotion. It’s also a welcome return of a familiar theatrical force. Directed by former STLSF Artistic Director Rick Dildine and featuring a first-rate cast and eye-catching visuals, the show creates a memorable world onstage. 

Unlike most (if not all) previous “Shakespeare in the Park” features at the festival, this Tempest runs in one extended act with no intermission. There’s also a fair amount of cutting to the script, trimming it down to focus on the heart of the story, and especially on exiled Duke of Milan Prospero (Nancy Bell), her daughter Miranda (Sigrid Wise) and young Prince Ferdinand (Zay Williams), who is shipwrecked along with his mother, Alonso the King of Naples (Kathryn A. Bentley), Prospero’s usurping brother Antonio (Jeff Cummings), and their entourage. Prospero, who has been stranded on the island with Miranda for twelve years, has caused the storm with magic, and with the help of the sprite Ariel (Eliza Pagelle) and a promise for the latter’s freedom, causes havoc among the shipwrecked newcomers, as well as testing Ferdinand, who is immediately and mutually smitten with Miranda. The story also features a subplot involving foolish royal servants Trinculo (José Sabillón) and Stephano (Michael Doherty), who team up with embittered island denizen Caliban (Chauncy Thomas) to kill Prospero and take over the island. There’s a lot of action going on here, but it’s blended together especially well here, with a wonderful throughline of music provided by music director Michael Grieve as the Boatswain and small band of players providing a traditional/folk influenced soundtrack to the proceedings that adds much to the overall vibe of the show. It’s a comedic focus, mostly, and it works especially well, with measured moments of drama sprinkled in for good measure.

The cast is excellent, led by Bell in a commanding but expertly measured performance as Prospero, whose whimsical tendencies are there, but balanced by a strong sense of care for her daughter as well as a weariness from being stranded on the island. Wise is also excellent as the somewhat naive Miranda, who is eager to learn about the wider world and is credibly attracted to Williams’s charming Ferdinand. The trio of Trinculo, Stephano, and Caliban is ably played with impressive comic timing by Sabillón, Doherty, and the especially pouty Thomas. There are also strong villainous turns by Cummings as the scheming Antonio and Reginald Pierre as his would-be partner-in-crime Sebastian. Bentley makes for a fine Alonso as well, and Whit Reichert turns in an endearing performance as Prospero’s mentor and ally Gonzalo. As the eager sprite Ariel, Pagelle is full of vibrant energy and purposeful mischief. These players are also supported by a strong ensemble, making for a cohesive cast and smooth storytelling. 

The visual world and overall atmosphere of the show is nothing short of wondrous, with a magnificent old-shipwreck set by Christopher Swader and Justin Swader that features many levels on which the cast can work, as well as dazzling lighting by Jeff Behm and well-choreographed sound by Melani Chen Cole that punctuates key moments in the story with palpable energy and emotion. There are also spectacular costumes by Kathleen Geldard in what appears to be an 18th Century style, and excellent props by Katherine Stepanek. Kudos also go to movement director Paul Dennhardt in coordinating the movements with the sound and the overall cohesive physicality of the production.

Overall, this Tempest is a lot of fun. It’s fast-moving, marvelously realized and ideally cast, bringing an overall sense of mystic wonder to the stage in Forest Park. It’s a marvelous piece of theatre, starting off the summer theatre season in St. Louis with energy and style.

José Sabillón, Michael Doherty, Chauncy Thomas
Photo by Phillip Hamer Photography
St. Louis Shakespeare Festival

St. Louis Shakespeare Festival is presenting The Tempest in Forest Park’s Shakespeare Glen until June 21, 2026

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SATE’s “Tempest in a Teapot” is a Whimsical, Fascinating Emotional and Literary Journey

Posted in St Louis Theatre, tagged , , , , , , , , , , on October 2, 2024| 1 Comment »

Tempest in a Teapot
By Shualee Cook
Directed by Rachel Tibbetts
SATE Ensemble Theatre
September 26, 2024

Chrissie Watkins and Cast
Photo by Joey Rumpell
SATE Ensemble Theatre

If you love Shakespeare and the works of Lewis Carroll, then SATE’s latest show is for you! Even if you’re not a huge fan of one or both these writers, however, there’s a lot to learn in this world premiere performance of local playwright Shualee Cook’s Tempest in a Teapot. It does help to be familiar with the source material to some degree, but still this is a fascinating, character-driven look at growing up, self-discovery, and how lives can be affected by others’ opinions and actions in expected and unexpected ways. 

The story here blends history and fantasy, as Alice Liddell (Chrissie Watkins) lives in Victorian-era Oxford and, as she is reaching young adulthood, has to grapple with the expectations of society and her professor father (Adam Flores), who expects her to marry well and settle down, while Alice isn’t sure what she wants to do. Enter Reverend Charles Dodgson, otherwise known as Lewis Carroll (John Wolbers), who visits after a long absence, making Alice have to reckon with her past as the inspiration for Carroll’s Alice in Wonderland books. As Alice is trying to make sense of her life, she is visited by the Cheshire Cat (Kay Ailee Bush), who coaxes her back to Wonderland, where the Mad Hatter (Flores), the March Hare (Keating), and the Dormouse (Summer Baer) await. Since Carroll had recently recommended that Alice read Shakespeare’s The Tempest, the Wonderland residents decide to read the play and act it out, casting Alice as Miranda–although she also ends up playing other roles, as well as featuring in flashback sequences about her own life. Carroll becomes Prospero, with the others playing a variety of roles as Alice is forced to confront her feelings about being Carroll’s “muse”, as well as trying to figure out who she is amid the expectations of the society in which she lives, along with her own family. What ensues is a cleverly constructed mashup of the Wonderland stories, The Tempest, and the intersecting lives of Alice and Lewis Carroll, with a good deal of humor and emotional reflection along the way.

As mixed up as the story may seem, and considering my Alice in Wonderland knowledge comes mostly from film adaptations, I found this story surprisingly easy to follow. It helped to read the Wikipedia pages for Alice Liddell and Lewis Carroll at intermission, but generally, this was a fairly straightforward “coming of age” tale couched in whimsy and fantasy, with vivid characterization and a strong, enthusiastic cast, led by the truly fantastic performances of Watkins and Wolbers, who portrayed a believable relationship and credibly complex characters. The rest of the cast is also strong, with energetic turns from Keating, Baer, and Flores, and an added air of confrontation and mystery from Bush. All of the players work especially well together, emphasizing the concept of “ensemble” as SATE constituently does so expertly.

The look and style of this piece is also memorable, with a versatile set design by Bess Moynihan and Ellie Schwetye that fits well in the Chapel performance space. There are also especially clever costumes by Liz Henning and Kayla Lindsay that add to the overall whimsicality of the proceedings and characterizations. Moynihan’s lighting and Schwetye’s sound design also contribute ably to the overall vibe of the show, as do the  props by Cecile “Cece” Entz and Katherine Leemon.

My only major regret about this production is that the show isn’t still running, because I would be telling everyone with even a mild interest in the subject matter to see this play. Tempest in a Teapot takes a clever concept and gives it life by means of a strong cast and vibrant staging. It’s another fun and thoughtful show from SATE.

Chrissie Watkins, John Wolbers
Photo by Joey Rumpell
SATE Ensemble Theatre

Conclusion–I regret that I wasn’t able to get this review out before the show closed.

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STLSF’s TourCo Entertains Up a Storm with Fast-Paced, Streamlined “Tempest”

Posted in St Louis Theatre, tagged , , , , , , , on August 10, 2024| Leave a Comment »

The Tempest
by William Shakespeare
Directed by Tom Ridgely
St. Louis Shakespeare Festival TourCo
August 9, 2024

Alex Daspit, Daisy Held and Cast
Photo by Theo R. Welling
St. Louis Shakespeare Festival

St. Louis Shakespeare Festival’s TourCo is kind of like having a Shakespeare performance in your backyard. This year, with their production of The Tempest, it’s almost literally in my backyard, or close enough, since the location where I saw it was within easy walking distance for me. For others, there are a variety of locations it can be seen throughout the St. Louis Louis area, including various parks and other spaces. No matter where you have to drive–or walk–it’s well worth checking out, because this six-actor production with music, quick costume changes, and magnificent puppets is a wonder to see and hear.

This is a streamlined production that runs 90 minutes with no intermission, along with a fun intro in which the actors introduce themselves and the roles they play, along with giving a short description of the show and some examples of dialogue. Then, the story gets going in fast-paced fashion, as Prospera (Joy Christina Turner) and her daughter Miranda (Daisy Held) have been isolated on an island for years after being deposed by her brother Antonio (Reginald Pierre) and Alonso (Alex Daspit), the King of Naples. There, Prospera has taken up the magic arts and taken the spirit Ariel (Aliyah Jacobs) and Caliban (Isaiah Di Lorenzo) into servitude. Eventually, a ship containing Alonso and Antonio, along with Antonio’s son Ferdinand (also Daspit) is shipwrecked on the island, and father and son are separated, not knowing if the other has made it to shore alive. Ferdinand meets Prospera and Miranda, instantly falling in love with the latter–and the feeling is mutual. Meanwhile, butler Stefano (Pierre) and court jester Trinculo (Held) are stranded on another part of the island and meet with the disgruntled Caliban, who enlists them in a plot against Prospera. Eventually, of course, all the parties are going to meet, but much confusion, hilarity, and reflection ensue in the meantime. 

This is a fun, fast-moving production with some quick costume changes, and wonderful use of puppetry, with dazzling puppets designed by Ryan Marshall and operated by the actors. There’s clever staging to account for the fact that there are only six performers each playing multiple roles, and clever costumes designed by Sam Hayes that work well with the quick changes. There’s also excellent use of music and sound, as performers use various instruments for sound effects and accompaniment, and cast members Jacobs and Turner each get moments to showcase their excellent vocals.

The cast is energetic and cohesive, working well together and managing the quick character changes with style. Turner as Prospera projects a strong air of authority, as well as a range of emotions as the story progresses. Held is also strong as the somewhat innocent Miranda and the comical Trinculo. Daspit does well with the distinction between father and son, switching between Alonso and Ferdinand through the donning and doffing of a crown. Daspit and Held as the young lovers display believable and sweet chemistry, as well. There are also strong turns from Pierre and Di Lorenzo in their dual roles, as well as Jacobs, who is marvelous as the ethereal Ariel. 

TourCo is such a great idea, and this production works well with their format of small-cast, portable shows that can be performed in a variety of spaces. It works  as “entry level” Shakespeare for newbies, or a fun version for seasoned fans of the Bard, as well. With truly stunning puppet work and  excellent cast and technical effects, this Tempest is sure to entertain. 

Joy Christina Turner
Photo by Theo R. Welling
St. Louis Shakespeare Festival

St. Lous Shakespeare Festival’s TourCo will be presenting The Tempest in various locations throughout the St. Louis area until August 25, 2024

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Cleverly Staged “Spirits to Enforce” is a Tempest of Fun from The Midnight Company

Posted in St Louis Theatre, tagged , , , , , , , on May 9, 2024| Leave a Comment »

Spirits to Enforce
by Mickle Maher
Directed by Lucy Cashion
The Midnight Company
May 3, 2024

Cast of Spirits to Enforce
Photo by Joey Rumpell
The Midnight Company

Do you like Shakespeare and superheroes? Do you also like offbeat comedy with memorable character?  Well, if you answered “yes” to all of those questions, The Midnight Company has the show for you. Mickle Maher’s Spirits to Enforce is a hilarious, characterful mashup of Shakespeare’s The Tempest and a host of comic book tropes all put together in a cleverly staged, terrifically cast, and thoroughly entertaining production that packs a lot of energy and laughs into its relatively short running time.

The basic premise here is that a superhero group is raising money to put on a play. The Fathom Town Enforcers have just vanquished their arch enemy, Professor Cannibal, who has been jailed, and the town is, at last, at peace. At least, that’s what the Enforcers think. Now, in their underwater submarine base, they sit at a long table at old school landline phones, complete with long, tangly cords, calling up potential donors to fund their production of The Tempest. Their appeals seem to fall on skeptical ears, and they resort to tactics such as revealing their secret identities as an incentive to contribute. They also start rehearsals and the tensions and struggles among the group become obvious, as Emory Lawson/Ariel (Will Bonfiglio)–who may actually be the “real” Ariel of Tempest fame–struggles to figure out how to successfully play himself, Randall James/The Tune (Cassidy Flynn) becomes frustrated that his crush and romantic interest in the play (she’s Miranda to his Ferdinand), Susan Tanner/Memory Lass (Rachel Tibbetts) has memory powers but can’t seem to remember his real name. Meanwhile, Donna Blake/The Bad Map (Kayla Bush) keeps getting lost, Donna Adams/The Silhouette (Miranda Jagels Felix) deals with her living hand shadows getting out of hand, while the rest of cast all have their own unique problems contributing to difficulty in mounting the production, as well as continued trouble with the phone calls and their callers’ concern that Professor Cannibal may be on the loose once again. 

The cast also features Joe Hanrahan as Wayne Simon/The Untangler, Celeste Gardner as Oliver Kendall/Fragrance Fellow, Spencer Lawton as Dale Clark/the Intoxicator, Ross Rubright as Craig Cale/The Pleaser, Ash Arora as Rebecca Lloyd/The Ocean, Joey Taylor as Brad Allen/The Snow Heavy Branch (who is also the show’s musician), and Alicen Moser as Cecily Gray/The Page, who plays Prospero in The Tempest. The whole cast is cohesive and energetic, with strong comic timing and appropriately quirky characters and angsty moments as the story builds to a fun conclusion. It’s difficult to single out individual cast members, because everyone is strong, lending much character and enthusiasm to the proceedings that can get a little overly talky at times, but still hold the audience’s attention and provide for a witty, goofy, and literate production full of memorable performances and moments.

The staging is inventive and engaging despite the fact that the cast members spend most of their time seated at a long table. There’s enough “business” for them to do, as well as some creative staging that highlights their tight quarters and those ever-present tangly phone cords that keeps the interest going. The costume design by Liz Henning and Eric Widner is marvelous, as well, suiting the offbeat superhero characters with the right amount of style and quirky charm. Jayson Lawshee’s lighting also contributes well to the overall atmosphere and growing air of urgency as the story unfolds, and Taylor’s music adds a memorable soundtrack to the proceedings.

If you like offbeat superhero stories (think Dr. Horrible’s Sing-Along Blog, among others) and Shakespeare, Spirits to Enforce should be right up your alley. It’s a fun, character-driven piece highlighted by excellent performances and fun visuals. It’s another quirky success from The Midnight Company.

The Midnight Company is presenting Spirits to Enforce at the Kranzberg Arts Center until May 18, 2024

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St. Louis Shakespeare Presents a Bold, Atmospheric “Tempest”

Posted in St Louis Theatre, tagged , , , , , on October 21, 2018| Leave a Comment »

The Tempest
by William Shakespeare
Directed by Patrick Siler
St. Louis Shakespeare
October 13, 2018

Donna Northcott, Ian Carlson, Erika Flowers-Roberts
Photo by Ron James
St. Louis Shakespeare

The Tempest from St. Louis Shakespeare is an audio-visual experience. It’s the well-known Shakespearean story, but with some interesting twists, especially in terms of sights, sounds, and staging. Here, director Patrick Siler makes a few casting modifications and brings the audience into this wild, weird, wondrous world, making the most of the space at the Ivory Theatre with a bold, mysterious, excellently cast production.

This production takes an approach that’s traditional and non-traditional in different ways. The costuming and setting are essentially Elizabethan style, with excellent detailed and colorful costumes by Michele Friedman Siler, and the island setting is well realized through Kyra Bishop-Sanford’s versatile unit set. The “non-traditional” is more in the casting, with many of the male characters being recast as women here, from lead character Prospera (Donna Northcott), the exiled Duchess of Milan, to her usurping, scheming sister Antonia (Teresa Doggett), to the Queen of Naples, Alonza (Laura S. Kyro), whose ship is wrecked in a storm stirred up by Prospera and scattered about the island. Alonza’s son Ferdinand (Ian Carlson) is thought to be lost, but instead he’s found by Prospera and her young daughter Miranda (Erika Flowers-Roberts), who has grown up on the island and hasn’t seen many humans besides her mother. She is fascinated with Ferdinand, and he with her, but Prospera wants to test him first before allowing them to marry. There’s also the mischievous sprite Ariel (Karl Hawkins), who helps Prospera in seeking to foil the plans of the scheming Antonia and Sebastian (Charles Winning), as well as of the vengeful, half-human outcast Caliban (Dustin S. Massie), who attaches himself to the bumbling shipwrecked Stephano (Jeff Lewis) and Trinculo (Anthony Winninger).

What is particularly memorable about this production is its sights and sounds–the dynamic lighting by Joseph Clapper and especially the sounds–mostly supplied by David N. Jackson and a variety of different instruments, from an electronic keyboard to an array of drums and percussion instruments. The cast members also employ drums and percussion on stage at certain moments, particularly the chilling “tempest” and shipwreck scene at the beginning and a celebration at the end. The staging is fast-paced, for the most part, with particular focus on Prospera, Miranda, and Ferdinand, as well as Ariel’s frequent influence and presence. Northcott makes a particularly determined, somewhat enigmatic Prospera, who is especially protective of her daughter. The chemistry between Carlson and Flowers-Roberts as the lovestruck Ferdinand and Miranda is sweet, as well, and Hawkins is a strong presence as the ethereal Ariel. There are also some strong comic moments from Winninger, Lewis, and Massie in their subplot, and memorable turns from a particularly regal Kyro as Alonza and Winning and Doggett as the self-serving Sebastian and Antonia.

This is an odd play, certainly. It’s one of Shakespeare’s strangest, and that’s saying something. There are some difficult questions regarding motives and social roles, but the focus in this production seems more on sensations and basic emotions. Here, on stage at the Ivory Theatre, St. Louis Shakespeare has brought a storm of sights, sounds, complicated relationships, and whimsical mysticism. This Tempest still has a lot to say, but even more so, a lot to see, hear, and experience. It’s an impressive technical feat.

Cast of The Tempest
Photo by Ron James
St. Louis Shakespeare

St. Louis Shakespeare is presenting The Tempest at the Ivory Theatre until October 21, 2018

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