THE BASICS: THE TEMPEST, the play by Shakespeare, directed by Fortunato Pezzimenti for the Irish Classical Theatre Company (ICTC), in collaboration with the Buffalo Philharmonic Orchestra (BPO) playing “Tempest” incidental music by Sibelius, directed by JoAnn Falletta, starring Aleks Malejs as Prospero/a opened its three-shows-only run Friday 2/24 at 7:30, with two more shows Saturday 2/25 at 7:30, and Sunday 2/26 at 2:30. All performances are at Kleinhans Music Hall, 3 Symphony Circle. Call 716-882-5000 or email the boxoffice@bpo.org
Runtime: A little over two hours with one intermission (full-service bar, coffee, soda, snacks)
For a two-minute trailer produced by Pan-American Film Division featuring Buffalo actor Patrick Cameron as “Caliban.”
THE PLOT: (Note that in this production, the gender of “Prospero” has been switched to “Prospera.”) Prospera was the Duchess of Milan, Italy, but as she more and more buried her nose in books and left the management of the state to her brother Antonio, eventually, with the help of Alonso (King of Naples) and Alonso’s brother Sebastian, there was a coup, and Prospera and her baby daughter Miranda were put to sea in a rotting boat to die. But they did not perish, thanks to fresh water and food secretly stored on the ship (along with some special books) by the good Gonzalo, and eventually, mother and daughter came to a distant island that was once ruled by the witch Sycorax but was now inhabited only by her somewhat monstrous son, Caliban, as well as Ariel, a spirit. Since arriving, Prospera has ruled the island and its two inhabitants by the use of magic she learned from her precious books. Her daughter Miranda has grown up seeing no other human beings.
When the play begins, fortune has brought Prospera’s enemies on a ship close to her island, giving her an opportunity to seek revenge. With Ariel she uses both their powers to raise a storm which seems to shipwreck the vessel but actually casts them all safely on shore. At Prospera’s command, the invisible Ariel leads the travelers in different directions as they wander about the island. Separating Ferdinand, the King’s son, from his father Alonso, Ariel leads Ferdinand to Miranda where the young couple falls instantly in love. Prospera is immensely pleased, but nevertheless sets heavy tasks to test Ferdinand’s love for Miranda as well as keep him busy.
Meanwhile, Alonso searches for his son, fearing he has drowned, while Alonso’s own brother Sebastian conspires with Prospera’s brother Antonio to kill Alonso and seize the crown of Naples. Elsewhere Stephano, a drunken butler, and Trinculo, the jester, encounter Caliban, who convinces them to kill Prospera so that the three can rule the island. However, Ariel manages to intercede, and the three plotters are soon bickering amongst themselves.
Photo: Nickel City Headshots
As Prospera’s plan draws to its climax, she vows that she will abandon her magic arts and free Ariel even as she confronts her enemies and forgives them. With the betrothal of Ferdinand and Miranda, the rift between Naples and Milan is healed.
THE PLAYERS, THE PLAY, AND THE PRODUCTION: ICTC and the BPO unite once more, this time for THE TEMPEST, thought to be one of the last plays that William Shakespeare authored alone, with incidental music for the play by Finland’s Jean Sibelius, music that he came out of retirement to compose. This is to say that these are masterworks by past masters here directed by two contemporary masters, ICTC Associate Director Fortunato Pezzimenti and Award-Winning BPO Conductor JoAnn Falletta, who next year will be celebrating her silver anniversary with the orchestra. And the on-stage talent is some of Buffalo’s finest and most experienced along with the principal musicians of the BPO. Oh yes. I thought that for this “one-off,” the BPO orchestra section leaders might take the night off, but no, we got the best of the best.
This is a dream cast, with wide experience, most of whom have had the lead role in other productions, including the stunning two-time Artie Award (Outstanding Actress) Aleks Malejs as Prospera. With her imperial robe (Costume Designer: Vivian Del Bello), her wizard’s staff (Props Designer: Lauren Costello Yager), and her super-stylish hair (Hair/Make-Up Designer: Susan Drozd) she does command the stage as she commands the island. And what a voice.
When we first see her, she is writing in a book, and as she does so, we see her writing projected on the ceiling (Projection Designer: Brian Millbrand) and we see her words of revenge come to life as the storm crashes in on the sailors and their boat, effectively created on stage by Set Designer David Dwyer. The on-stage boat, a visual synecdoche, is buffeted while the orchestra plays the Act I Scene I “On a ship at sea” storm music by Sibelius. Composers from Vivaldi to Haydn to Beethoven to Berlioz to Wagner loved to write stormy music, and Sibelius’s is right there with them. It is one hell of an opening scene.
This is where we first see Sebastian (Todd Benzin), Alonso (Peter Palmisano), Antonio (Matt Witten), Ferdinand (Alejandro Gómez), Gonzalo (Tom Makar, who played the role in 2019 with Shakespeare in Delaware Park, here stepping in for Jerry Maher), Caliban (Patrick Cameron), Trinculo (Kevin Craig), Stephano (Phillip Farugia), the Master of a Ship/Francisco (Rolando Martín Gómez) and Boatswain/Ensemble (Alex Garcia).
Miranda, Prospera’s daughter, is played with charm by Sabrina Kahwaty and Ariel is played (really danced wonderfully) by Marisa Caruso. Both are joined by ensemble members Madeline Allard-Dugan, and Phoebe Wright. As I said, an experienced crew, with many “major actors in minor roles.”
But wait, there’s more. There’s also an on-stage ten-person chorus (all members of the Grammy Award-winning Buffalo Philharmonic Chorus directed by Adam Luebke) consisting of Amie Adams, Erin Alexander, Mariam Dishunts, Lily Eager, Daniel Johnson, Phil McMullen, Brandon Mellerski, Megan Rozak, Hannah Taylor, and Ky VerHoef.
But wait, there’s even more. There are a number of songs interspersed in the show, and as the actors act, classically and operatically trained singers sing, and they are Brandon Mecklenburg, baritone; Jason Rober, tenor; Jessica Ann Best, soprano; Tyler Huk, tenor; and Sarah Luebke, soprano.
The creative team includes those who toil off-stage, including Production Stage Manager: Reneé Radzavich, Assistant Stage Manager: Spencer Dick; Choreographer and Fight Director: Gerry Trentham (great storm scene); Wardrobe Assistant: Eliza Zanolli-Stiles; Lighting Designer: Jayson Clark; and Sound Designer: Tom Makar.
Now, you may wonder as I did, “how can they present Shakespeare’s THE TEMPEST, plus musical interludes, plus songs, and finish in a little over two hours?” And the answer is that the play has been edited for brevity, and I say “Bravo Brevity!” I understand that the editing was a collaborative effort cherry-picking the best scenes and best lines to tell the story and I thought that director Pezzimenti and his collaborators did a fine job.
It seemed as if a number of potential audience members may have been put off by the icy weather, but don’t you be. Yes, budget a little more time to walk a little slower (you know, like a penguin) but once you’re near the hall, things are well-salted. And those inside the hall got what is probably for everyone there a once-in-a-lifetime experience. Over the years I’ve heard a lot of Sibelius performed by the BPO and I’ve seen a lot of plays presented by the ICTC, but getting both at the same time? Priceless.
*HERD OF BUFFALO (Notes on the Rating System)
ONE BUFFALO: This means trouble. A dreadful play, a highly flawed production, or both. Unless there is some really compelling reason for you to attend (i.e. you are the parent of someone who is in it), give this show a wide berth.
TWO BUFFALOS: Passable, but no great shakes. Either the production is pretty far off base, or the play itself is problematic. Unless you are the sort of person who’s happy just going to the theater, you might look around for something else.
THREE BUFFALOS: I still have my issues, but this is a pretty darn good night at the theater. If you don’t go in with huge expectations, you will probably be pleased.
FOUR BUFFALOS: Both the production and the play are of high caliber. If the genre/content are up your alley, I would make a real effort to attend.
FIVE BUFFALOS: Truly superb–a rare rating. Comedies that leave you weak with laughter, dramas that really touch the heart. Provided that this is the kind of show you like, you’d be a fool to miss it!
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