Shakespeare’s Sorcery Illuminates Island Power Struggles

 by Jenyth Jo

Prospero, the dethroned Duke of Milan, is a vengeful woman with magic in her hands. She conjures up a wild storm that brings shipwrecked Milanese rulers and sailors to her isolated island. For her plot, she enlists the help of a native “monster” and a fairy sprite, both her unwilling slaves, to take revenge on Milan’s tyrants.

Thanks to Nina Ball’s stupendous, moving, and haunting camouflage stage setting, we journey into Shakespeare’s world of magic and wonder. Designed to reflect the forest and sky of Forest Meadows Amphitheatre, Ball’s beautifully crafted, shape-shifting set becomes a star of the show. She helps us imagine a ship, a cave, a meadow, and the spectacles of crashing waves and magic spells.

As the angry, colonized “monster” Caliban, Chris Steele brilliantly uses and abuses the language he learned from Prospero (Stacy Ross) and her daughter Miranda (Anna Takayo). Snorts and grunts flow through Caliban’s curses:

You taught me language, and my profit on’t
Is I know how to curse. The red plague rid you
For learning me your language!

Steele infuses just the right amount of physical comedy into Caliban, whose costume matches the brown and green setting of his “occupied” island. Only his pigeon-toed hobble and guttural sounds distinguish him from the rocks and caves he used to call his own.

Caliban, Trinculo (DeAnna Driscoll), and Stephano (Stevie DeMott) delight us with their drinking scene. We are treated to Trinculo’s hilarious, linguistic barfing that syncs with Caliban’s grunts and songs. Recognizable words and unfortunately familiar sounds of drunkenness result in a brave rebellion: Caliban revolts against his imperious master, Prospero, choosing instead to follow Trinculo’s bottle. Their drunken comedy contrasts vividly with Prospero’s secretive schemes.

In another beautifully staged scene, the lovers, Miranda and Ferdinand (Jordan Covington), pledge themselves with the Elements as witnesses. Green Earth dances next to Lion King-puppets of Fire and Air. Sounds of the sea and floral wreaths decorate their beautiful dance of hopeful love. Miranda dips Ferdinand after the ceremony, a nod to female power on Caliban’s colonized island.

As Prospero, mesmerizing Stacy Ross regains her rightful title and lands. She finally frees Ariel and Caliban, ending the cycle of the abused becoming the abuser. Prospero no longer needs to continue her revenge on her enemies. She promises to end her power trip:

                …I’ll break my staff,
Bury it certain fathoms in the earth,
And deeper than did ever plummet sound
I’ll drown my book.

Enough is enough, she suggests, as she offers forgiveness all around. Life is too short to waste on hate.

Her magical staff and book fall into newly freed Caliban’s hands. In the waning light of day, he returns to darkness with a howl of victory. Nature has reclaimed the stolen gifts of power.

In this “Tempest,” the details of the minor characters’ political treachery slow down the play. Their plotting feels all too familiar, reminding us that Shakespeare’s villains are with us still. We are more interested in Ariel and Caliban’s desire for freedom and the cunning work they do to achieve it. When they are onstage, we stay engaged.

The enchantment of theater in the park lingers long after the show. A touch of poetic justice feels great in these times.

“The Tempest” by William Shakespeare, adapted & directed by M. Graham Smith, set design by Nina Ball, lighting by Jon Tracy, sound by Ray Archie, costumes by Bethany Deal Flores, at Marin Shakespeare Company, Forest Meadows Amphitheatre, San Rafael, California.

Info: marinshakespeare.org – to September 14, 2025.

 Cast:  Jordan Covington, Stevie DeMott, DeAnna Driscoll, John Eleby, Anna Ishida, Adam Mendez, Jr., Kevin Rolston, Stacy Ross, Chris Steele, Anna Takayo, Madelyn Garfinkel, A.J. Jefferson, Jahfari Maddo, and Iyanu Olukotun.

Banner photo: Jordan Covington (Ferdinand) & Anna Takayo (Miranda). Photos: Jay Yamada