'Tempest' takes Berlind by storm

Lighting cracks, hurling the audience and a ship bearing Alonsa, Queen of Naples (Annie Preis '07) headlong into Ronee Penoi's '07's senior thesis production of "The Tempest," which offers an enjoyable and fresh perspective on Shakespeare's classic play. Prospero (Hans Rinderknecht '08) stands center stage at the Berlind Theatre commanding the squall, while the company thrashes around the stage mimicking the wind by wailing "the storm."

The scene calms, and Prospero quiets his beautiful daughter Miranda's (Jordan Kisner '09) pleas for him to stop the storm. He explains that he was once the Duke of Milan, until his sister Antonia (Heather May '10), who is also aboard the ship he has trapped in his storm, usurped his noble position 12 years prior to the action of the play. Seeking revenge, Prospero has sent his spirit servant Ariel (Dominique Salerno '10) to torment the ship full of his enemies, who have sailed close to the island where the play's action unfolds.

Spirits and magic manipulate the characters throughout the production, as Ariel wreaks further havoc on the separated members of Alonsa's ship and leads the Queen's son Ferdinand (Alex Limpaecher '08) into the hands of Prospero.

Ethereal music, dreamy but sharp, enhances the mystical feeling of Penoi's production of "The Tempest." The set, designed by Lee Savage, looks like a diorama. The stage is raised and tilted, and above it, a box is cut out of the back black wall, providing a lit backdrop and a gallery from which Prospero and Ariel can conduct their magic and observe its effects. This shoebox setting underscores the theatrical, contained aspect of Penoi's production and adds to the minimalist feeling of the set.

With the exception of a few props brought onstage by Fury (Adam Flynn '08) and Tyrant (Sarah Outhwaite '09) and a feast-laden table that lowers from the ceiling when conjured by Ariel, the stage remains relatively barren, in keeping with Shakespearian tradition.

Penoi diverges from Shakespearian custom, however, in her decision to turn conventionally male parts into female roles: Queen Alonsa takes the part of King Alonso, and Antonia replaces Antonio. Penoi also casts a female, Salerno, as the androgynous Ariel, who carries out Prospero's bidding in the hopes of one day being freed from his service. Salerno's sweet but strong voice lends itself well to the songs "Full Fathom Five" and "Where the Bee."

The predominantly female cast does not soften or subdue the tone of the play, but rather exhibits the domineering side of women. May plays a bold Antonia, convincing Sebastian (Glenn Brown '09) to attempt to kill and depose his sister, the queen. Preis portrays a firm, assertive Alonsa, standing her ground in spiky black boots.

In contrast to the strong queen, Kisner captures Miranda's naivete, batting her eyes at Ferdinand and flitting barefoot across the stage.

Trinculo (Julia Cain '07) and Stephano (Jon Miller '07) add humor to the production as they drunkenly conspire to kill Prospero and take over the island, coaxed on by the dead witch Sycorax's son Caliban (Jon Feyer '09).

Overall, Penoi's cast delivers its lines with poise and clarity, not falling into the trap of overacting that trips up many Shakespearian performers. The welcome exceptions are Cain's and Miller's portrayals of Trinculo and Stephano, whose ridiculous roles call for exaggeration in order to capture the humor of their lines.

The actors make Shakespeare's flowery language accessible, drawing many laughs from the audience and aptly building tension.

Rinderknecht demonstrates both the soft and firm sides of

Prospero throughout the play, exhibiting love for his daughter, anger for the wrongs done to him and compassion for Ariel. He delivers the final speech of the play powerfully as he asks the audience to pardon him for doing any wrong and release him with its applause.