THE TEMPEST – Written by William Shakespeare; Directed by Chris Coleman. Produced by the Denver Center Theatre Company (Presented at the Kilstrom Theatre, DCPA, 13th and Curtis, Denver) through November 1. Tickets available at 303-893-4100 or denvercenter.org.
THE TEMPEST will always have a special place in my heart as it was the first play I saw performed at the Globe Theatre in London. Immediately post-Covid with a limited audience and no groundlings (they were placed on chairs six feet apart), it was still an amazing experience. A bucket list item checked off. Each new version of the script brings back the memory of that lovely afternoon and creates a new memory of this classic work.
This isn’t the first time the lead character, Prospero, has been performed by a woman; it was done previously by Vanessa Redgrave, Helen Mirren, and, more recently, by Alex Kingston in 2023. But as an excuse to bring Jacqueline Antaramian back to the Denver Center, this works.
Jackie’s Prospera is strong without being belligerent; her magic is powerful without being malignant; she is motherly without being outwardly controlling; she moves among the characters who have come into her isolated existence with both grace and control. She is a woman to be reckoned with, yet slowly realizes a way to, not forget the wrongs committed against her, but to graduate to a form of forgiveness. It is a wonder to watch her gentle machinations creating a bond between her daughter Miranda and the shipwrecked Ferdinand – the son of her arch enemy, the King of Naples. Her responses to the only other inhabitants of their lonely island, Caliban and Ariel, show both her disdain and affection. Her realization that perhaps the time of magic has run its course. If memory serves, there has always been a precision, a deliberate softness to Jackie’s voice that seemed character-driven and gave each role a unique presence.
In this outing, she has a supporting cast that is just that. The addition of a lone singer (Sarah Statler) positioned in a vom on a white piano adds a delightful touch of irony in the jazz classics she performs that provide background and comment on the performance. She gives familiar songs new meaning with humor when applied to the business happening on stage. A delightful concept that adds a new modern touch to this over 400-year-old story.
The young lovers are played by Janiah-Camile Francois as Miranda and Alistair Toovey as Ferdinand, with just the right level of discovery and wonder. Two young people were nearly struck dumb by the awesomeness of first love. They are playful in their pleasure and eager to discover what comes next.
The villains of the piece include Rajesh Bose as Antonio, Prospera’s brother, who stole her title as Duke of Milan and negotiated her banishment to the island. He was aided by Timothy McCracken (nearly unrecognizable in an awesome wig), who plays Alonso, the ruling King of Naples. They are joined by Gonzala, a once-trusted friend now confused by this new state of affairs, played by Tamarra Graham. Antonio and Sebastian (Ben Cherry), the King’s brother, have hatched a plot to dispose of Alonso and move Sebastian onto the throne.
Shakespeare never forgets the common folk who made up the bulk of his audience and their desire to laugh as well as applaud the heroes. He added the comic relief of two not-drowned escapees from the shipwreck: Trinculo and Stephano, whose principal delight is in finding the ship’s stash of liquor untouched. Sean Scrutchins and Rob Nagle bring delight as drunken sailors. Their confusion over where they are and why they are there is only compounded by finding Caliban, an ugly, deformed, mistreated inhabitant of the island, whom they promptly introduce to the pleasures of alcoholic bliss. Moses Vallarama manages to make Caliban both pathetic and powerful in his desire to bring Prospera down and win Miranda for himself. Expanding the theme of magic, the character of Ariel is given flighty life by Erika Soto in a birdlike performance that often seems to lift her in the air. She had been imprisoned in a tree, but set free, only to be again held hostage for her freedom to carry out Prospera’s magical wishes. Yes, it’s a convoluted plot, only to be made clear by this talented cast of storytellers.
The story is greatly enhanced by the absolutely gorgeous costumes by master designer Kevin Copenhaver. Regular attendees at the Denver Center have grown used to expecting magnificent visual representation of characters from the pen of Mr. Copenhaver, but he has outdone himself on this set of garments. The magnificent clothing worn by Prospera, the stately uniforms of the royalty from the boat, even the commoners and sailors are well represented. Caliban’s grubby garb adds to his place on the island. However, two pieces stand out: The incredibly beautiful “magic” cape of Prospera that seems to have a fluid life of its own, and the colorful bird-like costume of Ariel with its sleeves of feathers.
The production is further complemented by the seemingly simple but effective outdoor environment designed by Chika Shimizu; the lighting design by Charles MacLeod that enhanced the opening shipwreck and the sunlight of the island; the vibrancy of the sound design by Lindsay Jones who added the movement of the ocean in both turmoil and gentle waves. The originality of Mr. Coleman’s vision for the script added new components and clarity to the story.
They may not be outdoors or have groundlings standing in judgement, but I’m sure that Shakespeare gave his heavenly blessing to this production.
A WOW factor of 8.75!!