The same thing happens every time I attend a Shakespeare play. I struggle the whole time with the plot and meaning of the show, wanting to know what is going on because the characters’ emotions seem so compelling. I leave thinking the production might as well have been in German. The Lord Leebrick Theatre Company’s rendition of “Tempest,” while intriguing and well-acted, was another Shakespeare play that forced me to search out the synopsis once I returned home.
Here’s the run-down of the story line: Prospero, the Duke of Milan, and his daughter Miranda, are sent by Prospero’s brother Antonio and the King of Naples, Alonso, to live on an island because Prospero neglected his duties as a duke in order to study literature and magic. When the play opens, Prospero uses his magical powers to create a tempest to wreck a ship carrying Antonio (who has since become the Duke of Milan), Alonso, Alonso’s son Ferdinand and their friend Gonzalo.
The shipmates scatter about the island; the only other inhabitants are Caliban, a monster-like servant of Prospero’s, and Ariel, a dainty spirit who also serves Prospero. While the survivors wander the island, Miranda and Ferdinand fall in love and characters battle over political and land ownership issues.
A small cast of six portray the story, which gives it an intimate feel, but two of the actors each play two characters, which lends confusion. Kimberly Bates plays both Miranda and Ariel, and Christopher Hirsh portrays both Ferdinand and Caliban. It was hard to tell if their characters were separate people
or if they just had multiple personalities. The stage setup created even more intimacy — a one-level room housed the production,
and audience members walked across the stage to find their seats, which allowed for up-close views of the actors.
A set consisting of branches,
a tree trunk made into a fireplace, a tattered curtain and an old trunk with books, all in a dusty, gray color scheme, set an earthy mood for the play. Costumes were similarly drab, which created a consistent tone, but using color for Ariel’s costume would have fit her fairy-like character a little better. Audio effects such as storm sounds and ringing bells added mysticism to Ariel and
enhanced the performance.
The tone of the story is mostly intense, but humor is injected in a few spots. As Antonio, Alonso and Gonzolo wander the island, they find glowing bottles of booze in a closet and proceed into a few drunken scenes. In another, they come out for a hilarious Renaissance-style dance in royal clothing and full makeup. The romance between Miranda and Ferdinand is the most enjoyable interaction to watch — the love scenes are intense and dramatic.
One strange aspect of the setup is how close the audience is to the stage. When someone got up to get a drink while the show was running, they were forced to walk right by the characters and appeared to be a part of the show. Also, beware if you have any allergies because one scene includes a sprinkling of some sort of powder by Prospero, which made some of the audience members sneeze.
I wouldn’t recommend “Tempest” unless you’re a true drama junkie. Shakespeare can be difficult to interpret, especially this play, which has a ton of intricate meanings. It’s sort of like reading a really abstract poem and struggling to figure out its purpose. But if you take the time to understand the plot beforehand, “Tempest” can be an enjoyable story of magic and the interpretations of power and love.

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