The Tempest at Pittsburgh Public Theatre is a brave new production for our times.
“Past is prologue.” So Shakespeare’s 1611 text benefits from all that has come before, reflecting the playwright’s craft as well as his familial concerns near the end of his own career and life. Now, Pittsburgh Public Theater’s new Artistic Director Marya Sea Kaminski notably starts her directorial journey here with the very last play Shakespeare wrote on his own and PPT’s 18th production by that writer.
Kaminski’s adaptation for her stunning and entertaining production demonstrates both her artistic courage and her vivid imagination. Her Tempest is an important statement on the timeless relevance of Shakespeare’s work overall, as she follows a storytelling path that speaks to and moves today’s audiences while using the playwright’s own words.
First, she has simply cast women in all the roles that would have been played by men in Shakespeare’s company. Women drive all aspects of the production including the design talent and the featured Pittsburgh Youth Chorus singers.
Second, Kaminski’s Tempest adaptation is tuned for 21st century ears with due reverence for beloved, ample humor, and a dose of today’s vernacular. Words that are cut for directorial pace are not missed in this 90-minute production that is true to the story. Kaminski’s inventive framing device establishes both relevance and emotional resonance.
In the O’Reilly Theater, the storm of The Tempest is a personal one that fills the theatre and the audience’s minds and hearts. Irony and truth reign, allowing the entire cast to mine the humanity in magical and realistic ways. Prospero is portrayed by Pittsburgh area native Tamara Tunie. Here, playing an oncologist battling stage four breast cancer, she is introduced in Kaminski’s contemporary prologue in a Pittsburgh hospital during which all the actors first seen. They are silent as the patient is visited by an ambivalent family member, a rude orderly, and her attentive doctor. Our discomfort watching the scene is much like what we experience in real life when we are not sure what to say or do in such situation. Those of us who have closely experienced this journey with a loved one may yearn for the play to begin. We conclude this scene by following Tunie’s Prospero out of her room’s window to the island she imagines during her fever dream.
Tamara Tunie as Prospero
Charming costumes by Nephelie Andonyadis suggest things that Prospero might indeed imagine–evocative of Renaissance royalty, classic clowns, and mystical fairies. Abandoning a dull hospital gown, Tunie is decked out in a dramatic and noble robe and, symbolically, a gold breastplate over her surgical bandages. Even her de rigeur patient turban is transformed regally. Brandishing an amazing staff, she summons a violent storm to reciprocally wreck her political foe on the shore of the same island where Prospero’s and daughter Miranda were likewise shipwrecked.
The audience moves with Prospero as the tall rugged surfaces that first featured day-and-night video projections of Pittsburgh’s skyline become the rocky terrain of Prospero’s island. L. B. Morse’s set requires characters to traverse rocky outcrops. A “cloud-capped tower” gives Prospero a vantage point from which to watch those on her island and a clever central turntable make location shifts seamless. Nicole Pearce’s lighting ranges from the hospital’s fluorescent glow and Pittsburgh’s night, to the island’s sunny and mysterious hues.
Throughout, Andre Pluess’ original music and sound design underscore beautifully. Bursts of raucous or joyous song feature the voices of the Pittsburgh Youth Chorus in both settings while cast members sing drunken and celebratory song on the island.
In the starring role, Tunie moves her Prospero from the weariness of treatment and hospital routines in Pittsburgh city to taking charge on her imagined island, a place of spirits, spells, and solitary reflection. Tunie applies her rich voice and passion to Shakespeare’s language in a pinnable career role only played by a few other women in major productions. Tunie savors sumptuous bits of original text that uncannily convey her character’s dilemmas–serious illness, uncomfortable remedies, and valuable choices.
This Prospero mends relationships, teaches lessons, and ties up loose ends with those she will leave behind, Tunie demonstrates a warm wisdom even as she manipulates those in her realm. Her Prospero is not so much set on revenge as teaching important lessons that will outlive her–the kind of lessons Shakespeare himself left for humankind.
The outstanding ensemble members play multiple roles, all appearing in the prologue and then on the island. Admirably, each leaves us wanting more of their characters.
Prospero’s devoted and obedient daughter is sweetly and innocently drawn by Kerry Warren.
It is easy to appreciate that the brusque orderly in the prologue gets cast by Prospero as the enslaved then escaped Caliban on the island. Shammen McCune exacts sweet revenge with a captivating and essential performance as she plots to overthrow Prospero. She teams up with two delightful comic characters from the shipwrecked party. Bethany Caputo is appropriately over the top as the drunken Stephano, a plum role. Her physical schtick with the rocky set is delightful. Paired with the charming Jamie Agnello as the jester Trinculo, Caputo leads the comedy with Angello’s spot-on timing to create some show-stealing moments.
Shammen McCune as Caliban; Bethany Caputo as Stephano; and Jamie Agnello as Trinculo
The Queen (or Alonso) and her wary and hungry entourage is played by Deena Aziz. Seen initially as an estranged friend, she becomes a ruler cast onto the island by Prospero’s stormy spell. Laurie Klatscher as the loyal Gonzalo who advises the queen and earlier as Prospero’s doctor is a lovely and stabilizing presence. As the ambitious Sebastian, Aryana Sedarati conveys the cunning of a would-be assassin. Rami Margron considers a murderous power grab as Prospero’s brother Tonio. Magron is also dance captain, supporting choreographer Ericka Chong Shuch in clever choreography for Prospero’s fantasy characters including a darling nod to the Supremes.
Rad Pereira is Ferdinand, the Queen’s son lost in the storm. Pereira is charming as she convery the young man’s attraction for Miranda. The eventual reunion between parent and child is truly moving.
Endearing and energetic, Janelle Velasquez’s Ariel exudes vocal charm as she magically meddles (under Prospero’s direction) to confuse the shipwrecked royals with comic results. As nymphs Iris and Ceres, respectively, Emma Mercier and Julia de Avilez Rocha also generate much mischief.
PPT’s Tempest is indeed as Shakespeare liked his works–accessible, timely, topical, and entertaining. No need to tiptoe around this writer. Ever human strength and weakness lives in his characters. While this Tempest adaptation calls forth our emotions in a brave new way, Kaminski holds to the play’s central tenets: life is short and the stuff our dreams truly matters.
The fateful shipwreck.
The Tempest is on the O’Reilly Theater stage through February 24. Tickets are $30-$80 with special discounts including $16.50 tickets for full-time students and those 26 and younger. A Family Fun Pack offers varied perks for $120. For details, visit PPT online or call 412-316-1600.
Photo Credit (except banner image): Michael Henniger
Yvonne Hudson, a Pittsburgh-based writer, publicist, actor, and singer, joined PITR as a writer and adviser in February 2016. She began performing and writing during high school in Indiana, PA. The Point Park journalism grad credits her Globe editor for first assigning her to review a play. Yvonne is grateful to Dr. Attilio Favorini for master’s studies at Pitt Theatre Arts, work at Three Rivers Shakespeare Festival, and believing in her Shakespearean journey. When not working with nonprofits, this lifelong chorister sings with Calvary UM Church’s annual Messiah choir. Having played Juliet’s Nurse for Pittsburgh Shakespeare in the Parks, Yvonne is now seen in her solo shows, Mrs Shakespeare and Emily Dickinson: The Poet Lights the Lamp. Goals: See all of Shakespeare’s plays in production and memorize more Sonnets. Fave quotes: “Good deed in a naughty world,” “Attention must be paid,” and “A handbag?” Twitter @msshakespeare Facebook: PoetsCornerPittsburgh LinkedIn
Categories: Archived Reviews