Review: WILLIAM SHAKESPEARE'S THE TEMPEST at Arkansas Shakespeare Theatre

According to William Shakespeare, “We are such stuff as dreams are made on,” which is true for the Arkansas Shakespeare Theatre’s production of THE TEMPEST. With showings at the new Windgate Center for Fine & Performing Arts at The University of Central Arkansas in Conway, through Sunday, June 25, and then again at the Global Campus Theatre at The University of Arkansas in Fayetteville June 30 and July 1, there is still time to catch this amazing play that will make you believe in fairies, love, and second chances.  

Trapped on a magical island, Prospero, the former Duke of Milan (Steven Marzolf), his daughter Miranda (Selena Mykenzie Gordon), and island inhabitant Caliban (Nick Carpenter) have been alone for some time until the spirit Ariel (Grace Taylor) shipwrecks a boat full of people and scatters them. Ferdinand, prince of Naples (Jordan Williams) is by himself, and is found by Miranda. Another set is Alonsa, Queen of Naples (Na’Tosha De’Von), Antonio, Duke of Milan and Prospero’s brother (Ben Grimes), Sebastian, Alonsa’s brother (Gabriel Franco-Kull), Gonzalo, councilor to Alonsa and friend to Prospero (Adam Frank), Adrian (Bryan Altstatt), and Francisco (Ashton Fritzges). The third set is made up of Trinculo, Alonsa’s jester (Leah Paige Smith) and Stephano, Alonsa’s butler (Riles Holiday). Enchanting the island is the Rough Magic tribe-The Conductor (Matt Duncan), Iris (Elizabeth Jilka), Ceres (Holly Rith Gale) and Juno (Lauren Carlton).  

Almost from the start, Miranda and Ferdinand fall in love. Prospero challenges Ferdinand to see if he is worthy of his daughter, but Ferdinand passes, and they are allowed to spend time with each other.  

Meanwhile, Prospero is set on seeking revenge on all of his enemies that have wronged him and Miranda, so he has Ariel mess with the other groups of people but also keeps them safe. Alonsa has her crew looking for her son Ferdinand, but then Ariel puts everyone but Antonio and Sebastian asleep. Antonio convinces Sebastian to kill Alonsa so he can be king, but then Ariel wakes everyone up and Antonio plans are foiled. Alonsa then continues the search for her son. 

While all of that was going on, Trinculo swims to shore and finds Caliban, who she doesn’t know if he is dead or alive, but definitely smells like fish, and yet she crawls under the cloak that he is hiding in. Then Stephano washed up with wine and finds Trinculo and Caliban. Caliban likes Stephano’s wine and decides he will serve him, and then tries to talk Stephano into killing Prospero.  

So, how does all of this play out? Go see the show. 

First, I want to comment on the incorporation of the music. It was beautiful, innovative, and pure genius. Created mainly by Duncan, it was fun watching him in his little container, while he was watching the rest of the cast and participating in their torture. Then, when the spirits came together to sing their siren songs and also wedding blessings, it completed the whole performance. I loved it! And with that said, I enjoyed the pre-show music in which the cast participated. They sang theme-related songs, and I especially enjoyed listening to Ben Grimes crooning and strumming it out on the guitar.  

The costumes (Callie Lythgoe) and makeup were beautiful. Though they were all basically earth-toned and white, they were all color coordinated, and Selena Mykenzie Gordon was simply gorgeous in her flowy white dress. Also, the fairies were magical. Between their painted bodies and green pixie outfits, they seemed real to me.  

The actors at Arkansas Shakespeare Theatre are always astounding. I don’t know if the process for a Shakespearean play is different from a regular play, but AST performers really work cohesively as a group. I enjoyed the chemistry between Miranda and Ferdinand. In fact, Miranda’s (Gordon) flirt game was strong when she saw Ferdinand and then the other shipwrecked people, and Williams’ Ferdinand was swoon worthy watching him fall for Miranda. Marzolf’s Prospero was powerful in his words and demeanor. He took control of the scene and gave his monologues with passion, and though he was gruff with Ariel and Caliban, Marzolf’s collaborations with Taylor and Carpenter were well filled with fervor and Shakespearean angst.  

My favorite duo, though, was Trinculo (Smith) and Stephano (Holiday). Those two cracked me up. At the beginning of the show, I had no idea why Smith was stretching so much while everyone else was immersed in melodic merrymaking, but then when I saw her physical commitment to Trinculo, I hoped she did enough to protect her petite frame. Smith and Holiday kept the laughter going each time they took the stage, which was a much-needed reprieve to the heavier emotional scenes.  

Creative Team: Director-Morgan Hicks; Stage Manager/Assistant Director-Sarah Behrend Wilcox; Scenic Design-Morgan McInnis; Costume Design-Callie Lythgoe; Lighting Design-Zach McJunkins; Matt Duncan-Composer; and Assistant Stage Manager-Aowyn Anderson. 

There are still performances left, so check out their website at https://www.arkshakes.com. 

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