I have seen The Tempest a number of times over the years - most recently as a Lego stop-motion film shot during the pandemic lockdown by Bakersfield College. Many years ago, I saw a version at The Empty Space, featuring much of what eventually became the theater faculty at BC. I mention this one, because the role of Prospero was played by Bob Kempf, a local actor, teacher, and mentor, who sadly passed away recently at far too young of an age. As a co-founder of The Empty Space, and as the teacher and mentor of two generations of local thespians, he has left an unforgettable mark on local theater. As one who has enjoyed his work for a quarter of a century, I know he would be proud of his legacy.
I hadn’t thought I could fit in this performance, because December for us musician sorts is crazy enough as it is. However, the fact that a friend was in it, and also that my youngest had to analyze one of Prospero’s speeches for 7th grade English, made me take a look and find an evening we could fit it in. My decision was further confirmed when another friend who does theater saw it and raved about the production. I got tickets for the younger three kids as well.
I was not disappointed. This was wonderful production, excellent from top to bottom and side to side, from the all-star cast to the imaginative costumes.
As I have mentioned in previous posts, Stars Playhouse is a small industrial space with at most 40 seats (depending on the configuration for a given play), and no true backstage. It reminds me of The Empty Space’s old location. Because of this, staging has to be creative, and more done with less. I have seen a number of plays there over the last three years, and I have to say that it has maintained a high level of artistry as well as creative choice of plays, from ancient to last year. (Recently Bernhard/Hamlet, for example.)
I hadn’t seen any Shakespeare there, although I know they have done it in the past. For a play like The Tempest, with its storm and swamp and large scale, it didn’t seem to be an obvious choice for a tiny space. But Shakespeare is what you make it, and it can seem fresh every time if done creatively.
In my last review of a production of this play, I didn’t say much about the plot - or plots, really - so I figure I might touch on the necessity of keeping everything straight.
Prospero, the exiled duke of “Milan,” was usurped by his younger brother, Antonio, with the help of Alonzo, the king of “Naples.” I use quotes because the cities are not only just convenient fictions, but because Shakespeare’s geography tends to make zero sense…the “coast of Bohemia, anyone?” Banished from his kingdom and stranded on a remote island, Prospero and his daughter Miranda have lived for many years. He has learned magic, and rescued captive spirits from the clutches of a witch, Sycorax. Among these is Ariel, who is Prospero’s chief servant. Sycorax left behind a half-human monster child, Caliban.
When the play opens, Prospero has summoned a storm to wreck the ship carrying (conveniently) his nefarious brother, the king of Naples, the king’s son, the king’s devious brother, and a loyal old nobleman, Gonzalo. And also the comic relief - the jester Trinculo and the drunkard butler Stephano.
Through Ariel’s magical assistance, the occupants of the ship all come safely to land, broken up into several groups.
The prince, Ferdinand, comes to consciousness to see Miranda and fall in love with her. (Thus creating a valuable political alliance for Prospero.) The king, usurping duke, and the other nobles are stranded without food and only their bickering to keep them company. Trinculo and Stephano run across both a butt of wine and Caliban, to much hilarity.
For Prospero, he has several goals. First, to unite the couple in marriage, thus securing his connection to the king. Second, to regain his dukedom. Third, to humiliate his brother (and to a degree, also the king and his brother.) And fourth, to get off the island. Oh, and he has also promised to give Ariel his/her/their freedom.
It’s kind of nice being a magician and all at a time like this.
The Tempest is one of Shakespeare’s last plays, at least of the ones he wrote by himself. It is considered one of the late romances, or arguably one of the problem plays. It was originally listed as a comedy, but it is in quite a different vein from the earlier ones. It also is just…different. It has all the magic of A Midsummer Night’s Dream, but it is a lot darker. The ending could easily have been tragedy, but ends instead with grace being extended to the wrongdoers.
That’s enough to get the idea of the play. For this production, the expository portions of the play were cut to the bare bones, just enough to understand the backstory. For the most part, the major characters were there, but the extras were limited mostly to magical roles. Again, limited space requires a smaller cast.
The costumes were wonderful, particularly the spirits in their rather oceanic colors, Ariel as a Firebird, and Caliban as quite the fishy creature. Oh, and also Ferdinand’s absurdly large codpiece.
The Tempest has a lot of songs in it, and this production expanded that to an entire soundtrack, performed by one of the spirits on electric guitar drenched in reverb and chorus, a little percussion, and ethereal melodies for the text of the songs. It combined to give an unworldly vibe to everything, feeling almost underwater. The blues and greens of the lighting added to this atmosphere.
And then, there was the cast. A lot of the usual suspects, and I mean that as a compliment. There are a number of local actors who are in a lot of plays, and who have serious talent and dedication to their art.
To start with, Prospero was played by Don Kruszka, who not only acts, but runs his own puppet theater. I also worked with him back in 2017 when the Bakersfield Symphony combined with a group of actors to put on Andre Previn and Tom Stoppard’s Every Good Boy Deserves Favour. We ended up talking because his character had to sit in the orchestra and pretend to play. He was a lot of fun to work with, just a down to earth guy.
I really loved his work as Prospero. There are so many ways to play the character, none of them wrong, but I think that Kruszka’s version was the most contemplative and haunted one I have seen. Which is why it fit that at the end, rather than dramatically break his staff, he just muses in his last monologue, then quietly sets the staff on top of his coat and walks away. Throughout, his performance was excellent and consistent in character.
Also in that production and in The Tempest was Karl Wade, in the role of the treacherous brother, Antonio. It’s not a big part, but Wade is pretty much good in any role.
My friend from book club, Josh Evans, played Sebastian, who, along with Antonio, conspires to murder the king and his allies. The two of them get to snark and conspire and generally make themselves unpleasant. Which they did rather well.
Steve Evans (who I don’t think is related to Josh), played the king with gravitas - less of a treacherous spin and more of a realpolitik situation. Scott Deaton brought an earthy optimism and common sense to the part of Gonzalo.
I think this is the first time I have seen Xavi Elizondo in a major part. He was hilarious as the drunk Stephano, and had good chemistry with the jester, played by Alex Singh. (Also in the first major part I have seen him in.)
John Spitzer serves as artistic director for Stars Playhouse, and is one of those actors I will see in anything - he has incredible range and is always riveting in any scene. For Caliban, he made the part unhuman, with bodily movement that was pure monster, making his lanky frame all knees and elbows and writhing motion. His voice combined the naivety with the cunning that the part requires. Just great work. Spitzer also directed this play, and deserves credit for the consistent vision.
Ariel was played by Natalie Underwood, who brought a contortionist twist. She is a dancer, and incredibly flexible. Her use of space - including vertical space - made her seem a real sprite, not an earth-bound human. Great chemistry with Kruszka too - the genuine affection that the two have, even given the unequal power and the desire for freedom.
The young couple was played by a pair of up-and-coming young actors, recently seen in both Shakespeare plays at BC this year. Riss Halbwachs, most recently seen as Rosalind/Ganymede in As You Like It, played Miranda with the kind of innocence the part demands, but also with a certain sexual hunger that made Prospero’s concern for her purity quite believable.
Ferdinand was played by Jaspreet Singh, who, as I have mentioned, seems born to perform Shakespeare. His high tenor voice is so clear and unhurried, and his diction transparent - but also, he talks in iambic pentameter as if it were normal, everyday speech. I’m serious, it is just beautiful to listen to. This makes three Shakespeare plays for him this fall, so a lot of lines and three very different parts. He’s one to watch - he’s a student at CSUB, but already acts like a veteran of the stage.
I haven’t mentioned all of the minor parts, but I thought that everything that contributed to the overall vision was present, and nothing present that detracted from that vision. Every motion, every set rearrangement, every line.
From start to finish, this production was enjoyable. In keeping with the smaller space, it was understated and intimate, rather than bombastic and epic, and I think that really brought out the family psychodrama that is the true core of the play.
This play makes 22 live theater productions I have seen this year, 14 of those locally. Our local theater scene is really a treasure - and it survived Covid and is thriving again, with full houses. Like any town, Bakersfield has its advantages and disadvantages - our air is crap and there are a lot of MAGA assholes rolling coal. But our local arts scene has it going on, and I think the pandemic had some positive effects. Audiences realized what they were missing, and returned in full force. And our local artists have raised their ambitions and their game, truly bringing it with every production.
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