Ohio Shakespeare Festival's ‘The Tempest’ is a Magical Show in an Enchanting Setting

A Spirit in Ohio Shakespeare Festival’s “The Tempest.” Credit: Photo credit: Scott Custer

Ohio Shakespeare Festival (OSF) has performed under the stars at the Stan Hywet Hall and Gardens for twenty-four summers. Their playing space is tucked away between small ponds and bordered on all sides by towering trees. Stringed lights guide you to the plastic garden chairs that will serve as your seat for the night. The deep croaking of bullfrogs and the distant boom of fireworks sound throughout the show, while the fireflies grow more numerous the farther the sun sets.

While beautiful theaters are by no means uncommon in Northeast Ohio, the stage at Stan Hywet is dropped into an especially alluring setting. Pair the gardens with a lovely summer night, William Shakespeare’s magic-driven “The Tempest” and a talented theater troupe, and you’re in for an enchanting evening.

“The Tempest” follows the story of Prospero, a magician and the former Duke of Milan. Years before the show begins, Prospero’s dukedom is usurped by his brother. He flees to a desolate island with his infant daughter, Miranda. Prospero uses his magic to enslave Ariel, a spirit, and Caliban, the island’s only inhabitant, into his service. Many years later, a ship nears the island. On the boat are Alonso, King of Naples; Ferdinand, the king’s son and heir; Sebastian, the king’s brother; Gonzalo, a trustworthy councillor; Antonio, Prospero’s betraying brother; and a few royal servants and courtiers. Prospero uses Ariel to help him conjure up a tempest that wrecks the ship and tosses its travelers onto the shores of his remote island. Over the course of the show, the marooned characters explore themes of love, ambition, betrayal, revenge and forgiveness.

OSF’s cast, under Nancy Cates’ able direction, presents a show that is equal parts charming and magical.

While Prospero is written as a man, OSF cast Holly Humes in the role for their production. Humes has great command of both the Bard’s words and the audience. She plays Prospero with a no-nonsense, stoic air, but leaves just enough room for relatability. The choice to cast Prospero as a woman allows for an interesting exploration of a mother-daughter relationship and gives Prospero a few uncharted depths of character to discover.

Another gender swap is made for Antonio, Prospero’s usurping brother (or in this case, sister). Antonio is played by Tess Burgler, who is sly, conniving and often visibly unamused by the antics of her companions. Stranded alongside Antonio are Geoffrey Darling as the kindly royal councillor Gonzalo, Brian Pedaci as the despondent King Alonso, Troian Butler as the lord Francisco and Ryan Zarecki as the scheming brother of the king, Sebastian.

Natalie Steen is Miranda, Prospero’s daughter. Steen, who also serves as resident scenic designer, is convincingly sweet and excitable. She is well paired with the equally charming and excitable Lloyd Wayne Taylor who plays Miranda’s love interest, Ferdinand.

Joe Pine portrays a gritty and grimy Caliban. Pine hops about the two-story stage and scampers down the aisles with movements reminiscent of Gollum/Smeagol from “The Lord of the Rings.” Pine’s Caliban is villainous and scheming, but also worthy of sympathy and pity.

Hannah Storch is exceptionally well cast as Stephano, the king’s drunken butler. Storch’s slurred speech, wild gestures and intoxicated hijinks are delightful. As far as comic relief goes, Storch has hit the nail on the head. More subdued and susceptible is Eric Fancher as Trinculo, the king’s jester. Together, Storch and Fancher make an entertaining duo.

The spirit Ariel is embodied in this production by Geoff Knox, who brings a lithe physicality to the role. Knox plays Ariel with a seriousness that borders on intense–an effective choice that helps translate Ariel’s resolute pursuit of freedom. Other spirits are played by OSF’s ensemble, each of whom adopts an instrument that they then use to create ambient music and sound effects, such as rolling thunder or the crashing of waves. Music director Evan Wilhelms ensures that the music is well-integrated and delivers a magical aura.

The cast is beautifully clothed by Kelsey Tomlinson, who dresses the main players in dresses and capes with rich and colorful fabrics. The spirits are adorned in nature-inspired garb with plenty of floral accents, many of which match the foliage set dressings scattered about the stage. While Caliban and Ariel’s outfits are torn and layered, representing their long stint of toiling away as slaves to their master, the courtiers and royalty wear fine, traditional clothing.

Due to the nature of OSF’s outdoor staging, Buddy Taylor’s lighting doesn’t kick in in earnest until Act II, when the sun has fully set, but when it does, it is quite ethereal.

Magic is a driver in “The Tempest.” It fuels not only the tempest from which the show derives its name, but also nearly all of the antics that occur throughout the play. OSF’s production, with its masterful cast, captivating costuming, and seamlessly integrated music provides a night of theater as magical and enchanting as the play itself.

“The Tempest” runs through July 20 at Stan Hywet Hall and Gardens,714 N. Portage Path Akron. Visit ohioshakespearefestival.com or call (330) 574-2537 for tickets, $15-30.

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