Boston Theater is now out of its long term quarantine. Commonwealth Shakespeare Company is celebrating its 25th anniversary with its 2020-intended production of "The Tempest" halted by COVID-19. Out of pandemic exile, CSC is staging a revival as magical as Prospero's own efforts in Shakespeare's enchanting play.
The magic—under artistic director Steve Maler's inspired guidance—begins right away with the storm that brings the enemies as well as the virtuous few with them to the Duke of Milan's island. Co-lighting designers Eric Southern and Maxime Grano De Oro and sound designer David Reiffel make the conjuring of the shipwreck vividly evocative. Equally evocative are Prospero's machinations with the assistance of elusive spirit Ariel.
As with Puck and his superior Oberon in "A Midsummer Night's Dream," Ariel is visible only to his master—here adorned with a handsome magician's coat from costume designer Nancy Leary. What makes Ariel particularly eye-catching is the casting of gifted Boston Ballet principal John Lam. As the spirit describes his "performing" of the title storm and making sure that all of the ship's passengers reach "safe harbor" as requested by Prospero, Lam moves with greatly expressive arms and nimble legs. Throughout the play as Ariel progresses to his own freedom, the highly graceful dancer will have ballet fans and newcomers looking forward to his work with Boston Ballet as it returns to the Opera House in November with its deservedly renown "The Nutcracker." CSC has smartly added a melodious trio—Ekemini Ekpo, Jessica Golden and Marta Rymer—in
appropriately blue outfits to bring striking harmony to Ariel's "Full fathom five"-beginning song that mentions "sea nymphs—an ensemble that provides sonorous counterpoint.
By contrast, Prospero's coarse nemesis Calaban comes to impressively raw life thanks to the wide-ranging talents of Nael Nacer. Nacer has the right combination of viciousness and vulnerability as the ambitious curser who wishes he could seduce the magician's wholesome daughter Miranda but also suffers from a slave's mindset. Nacer's interaction with Fred Sullivan, Jr. as dangerous if comical would be king Stephano and John Kuntz as his clownish sidekick Trinculo makes for sharp dynamics.
Director Maler smoothly establishes the parallel dynamics involving Prospero's diverse peers. Shakespeare buffs may call to mind the Duke's authority in "Measure for Measure" as Prospero confronts his usurping brother Antonio—played with convincing callousness by Remo Airaldi. Siobhan Juanita Brown is a revelation as the magician's supportive advisor—here Gonzala in gender-bending casting. Richard Noble is fittingly conflicted as King of Naples Alonso, while Maurice Emmanuel Parent effectively understates his brother Sebastian's malice.
Nora Eschenheimer as Miranda and Michael Underhill as Alonso's son Ferdinand provide an arc of lyrical romance that offsets an atmosphere of bitterness and resentments. Eschenheimer is very appealing as Miranda rhapsodizes about a "brave new world." Underhill's Ferdinand displays remarkable support for his love and respect for her father.
Best of all is John Douglas Thompson as Prospero. This is the kind of commanding and complex performance the true Duke of Milan deserves. Thompson persuasively moves from apparent vindictiveness to wise forgiveness. At the same time, he catches Prospero's strong paternal caring for Miranda and his very different evolving approaches to Ariel and Calaban. CSC will do well to keep this amazing actor in mind for other such demanding roles in the Shakespeare canon.