| | Published June 20th, 2012
| Cal Shakes' 'The Tempest' Not to be Missed
| | By Lou Fancher |  | | Michael Winters, Erika Chong Shuch, James Carpenter, and Catherine Castallanos in The Tempest, directed by Jonathan Moscone Photo Kevin Berne
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California Shakespeare Theater (Cal Shakes) sailed into the outdoor theater season and William Shakespeare's The Tempest June 2 with gusty winds, bone-rattling temperatures, magical moments, and a surprise.
Although nestled snugly in the golden grasses of Orinda's hills, the Bruns Amphitheater offered little protection from Mother Nature, whose fog and freeze added gravitas to the playwright's chilling tale of shipwreck, betrayal, revenge, love and redemption.
Now in their 40th season, Cal Shakes' audiences weather it all and find their reward in the company's brilliant actors, clarion direction, and impressive production values like this production's costumes by Anna Oliver-who deserves and will receive more accolades later in this review-and Lighting Designer Gabe Maxson's ability to capitalize on amber sunsets and floodlit trees.
But it was Artistic Director Jonathan Moscone's instinct-to collaborate with, and ultimately cast as the spirit Ariel, choreographer Erika Chong Shuch-that surprised.
From the first stormy scene, with yellow-slickered boatswains careening madcap across set designer Emily Greene's sharded set, Shuch delivered the production's most brilliant character and enough shine to steal more than a little wind from Shakespeare's (and Moscone's) sails.
A synopsis of The Tempest points to Prospero as the lead character. The formidable sorcerer and former Duke of Milan has been overthrown by his brother, Antonio, and Alonso, the King of Naples. Cast aside on an island, Prospero aims to regain his rightful mantle, if not for himself, for his daughter, Miranda. Aided by the spirit Ariel, Prospero commands the elements-from earth to sea to man to ethereal beast. In the process of retaliation, love blooms between his daughter and his enemy's son, Ferdinand, which bends Prospero's desire for revenge into forgiveness and unification.
The burden then is on actor Michael Winters, who plays a gracious Prospero and doubles as a burly, blustery steward in one of several transform-in-seconds double-casting moves by Moscone.
The good news/bad news is that Shuch, aided by the most impressive Sprites this side of mythology (Melanie Elms, Travis Santell Rowland and Aaron Moreland), is mesmerizing. Her Ariel bewitches in balletic moves and explicitly delivered gestures. The elegance and spontaneity she displays with the text is blessedly unaffected and only when Nicholas Pelczar-a true lark, as Ferdinand-is onstage, is it possible to tear attention away from her energy.
The swirl of two-for-one casting is astonishing. Catherine Castellanos puts forth a shotgun Caliban, properly loathsome and with gnarly intent, while also doubling as a twitchy, ambitious Antonio. Emily Kitchens bubbles and pleases with her loopy Miranda, then spins behind the set's ravaged netting and steel beams to reappear-all intellect and repressed interior motives, as Sebastian. Even Moreland has a turn at the game, shedding his spritely self to become a Frank Sinatra knockoff in one hilarious scene.
The costumes, from feather-filled capes to turkey platter helmets, deserve a standing ovation of their own. Oliver captures the playwright's humor, shakes it fiercely by the tail, and sends it spinning.
Ultimately, the most compelling tension resonates and revolves around Ariel and her quest to please Prospero and gain her freedom. With the lead character rendered less vibrant, Moscone's Tempest is set askew, but by no means shipwrecked. With a cast of enormous talent, unforgettable moments like Shush's frothy dance in Oliver's magical butterfly dress, Cal Shakes' season opener offers temptations sweet and is not to be missed.
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Lamorinda Weekly, Moraga CA