review: the tempest reimagined @ lafitte greenway

Stormy weather: The NOLA Project's 'Tempest Reimagined' (photo by: John Barrois)

Revisers on the storm: The Tempest Reimagined
Review by David S. Lewis

As hurricane season approaches the Gulf Coast, late May is the perfect time to enjoy William Shakespeare’s The Tempest, the eponymous storm of which forms the catalyst for this English take on Italian commedia-dell'arte. Prospero, the deposed Duke of Milan—now marooned on an enchanted island with his teenage daughter and a bevy of supernatural entities—marshals all his magical tricks (and some Machiavellian manipulation) to reverse the coup engineered by his rival and brother a dozen years prior. 

Written around 1610, The Tempest may be seen as Shakespeare’s commentary on his own career in theater, as well as a lens by which to examine the expansionist tendencies of the burgeoning British Empire; as outlooks on colonialism have evolved, characters such as the monstrous Caliban and the more powerful, subversive spirit Ariel have been used to explore conversations of power and the obligations of those who would govern. The play has also been used to examine paternalistic relationships and the political ramifications of chastity cults.

James Bartelle’s light rewriting recasts characters in ways that contrast with the heyday of the Globe Theater, where women’s roles would have been performed by men. Characters here are portrayed gender-blind. The program notes imply that colonial mindsets have also been “reimagined” to reflect modern viewers’ sensibilities, challenging instances of misogyny, colonialism, and racism in the staging.

Caliban, rendered as a race-ambiguous monster, an indirect stand-in for 'supernatural' inhabitants of resource-rich colonial targets, is still given a comedic reading, if rather a sad one. He eagerly accepts the libations proffered by the shipwrecked buffoons Stephano and Trinculo, and entices them into a conspiracy against Prospero, who easily thwarts his primitive machinations. Nevermind that Prospero seized his native island and enslaved him, or that the sorcerer coerces Ariel, another powerful island spirit, to do his bidding by dangling the promise of freedom: so long as they or their resources are valuable to his quest for power, in his sway they shall remain.

Bartell makes wonderful use of a limited stage and minimal production, and wisely leans on the talents of his cast, many of whom are, like him, core members of the NOLA Project ensemble, all with impressive theatrical backgrounds and stacks of regional and national awards.

The musical numbers, composed and shaped by Sweet Crude’s Alexis Marceaux and Stephen MacDonald, are delivered beautifully by the entire cast, particularly Leslie Claverie’s enchanted chanteuse, the spirit Ariel. Monica R. Harris’ Prospero churns wrathfully around the stage, their wizarding staff wielded wonderfully as weapon in active fight scenes, with punchy choreography.

Prospero has always been a coveted role, with as many interpretations as actors have approached him. Harris imbues the sorcerer prince with just a touch of menace, juxtaposed judiciously against Prospero’s many handsome and contemplative lines.

Alexandria Miles brings humor, warmth, and humanity to Miranda, whose wide-eyed love affair with Zarah Hokule'a Spalding’s Ferdinand (the first person she has ever met that’s neither her father or an island spirit) is endearing, as is the chemistry she shares with the prince. Even the lightly-swarming nighttime insects cavorting preternaturally in the glow of the stage lights offered a naturally-enhanced production effect.

This is bring-your-own-chair Shakespeare in the finest traditions of community theatre. As such, The Tempest Reimagined hits all the right notes. Bartelle has perhaps discovered a sweet, rather dreamy spot with his interpretation, but the actors’ spirits don’t merely “melt into air, thin air”: theirs is the stuff that offers substance to this pageant. 

The NOLA Project's 'The Tempest Reimagined' runs at Lafitte Greenway through May 25th. Click here for show information, times and tickets.