Review By: Carey Purcell
CareyPurcell@TheCinemaSource.com

It begins with a thunderbolt. To some, that may foreshadow a show of overwrought visuals, noise and spectacle, but here in this case, it is the exact opposite. The Classic Stage Company’s production of The Tempest is simplistic, understated and above all else, extremely elegant.

One of Shakespeare’s final works, The Tempest tells the story of Prospero, the Duke of Milan, who lives on an island with his daughter Miranda. They washed ashore during a shipwreck years ago, when Prospero's brother had tried to kill him in order to usurp his power. Now, the men who conspired against Prospero years ago have landed on the island themselves, after being caught in a horrific storm that Prospero created. Madness and frivolity, as well as mistaken identities and several instances of magic ensure, as Prospero works with the spirit Ariel in order to exact his revenge and right the wrongs that were done years ago.

Staged in the intimate theater on 13th Street, The Tempest is approached with a minimalistic simplicity that is both refreshing and stimulating. The set consists of nothing more than a pile of sand in the center of the stage with a panel hung over it. Different settings appear on the panel to inform the audience of where the scene takes place. Prospero and Miranda, as well as their slave Caliban and Ariel, are clothed in white from head to toe (the exact same shade as the sand they stand upon). The members of the Royal Court who find themselves on the island are clothed in classic garments, which this critic must describe as a refreshing change after having seen various modernized productions of Shakespeare recently.

It is not the use of visuals that stimulate this production, but rather the use of music. Various melodies and songs are featured and not only do they enhance the mood and further the plot, but they are purely and simply beautiful. Ariel is played by Angel Desai, who gives the spirit a blithe energy and fiery core and who also happens to possess a beautiful voice and skill on the violin. She lures the shipwrecked men onto the shores of the island with song, and many times lurks around them, singing melodies that confuse or guide them, depending on her orders from Prospero. The orchestrations are simple, delicate and absolutely beautiful to hear.

They are not the only music in the production, however. Every word of the script sounds like music as spoken by a cast of such talent and caliber. Each and every member of the cast is stunning, and as an ensemble, they combine seamlessly onstage. Elisabeth Waterston’s Miranda is spirited but also gentle and slightly nervous. As Caliban, Nyambi Nyambi possesses a simplicity and desperation that made this critic uneasy to witness. Stark Sands is forthright, honest and handsome as Ferdinand, and Yusef Bulos is perfectly cast as Gonzaelz, the honest adviser to the King. And Tony Torn and Steven Rattazzi, as ...