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"The Tempest" in a Teapot
by Sherri Rase | >> see bio
photo by Voltaire Balderrama
Jim Simpson as Prospero
The Nutley Little Theatre company (15 Erie Place, at Brookfield Avenue), locally renowned for their quality productions, has just begun the run of Shakespeare's "The Tempest" in their small, fine theatre. Hidden among the modest homes in a wooded glade, the NLT has been a North Jersey mainstay for well more than 60 years. Notwithstanding their theatre traditions, however, they do not produce traditional theatre.

On the surface, this production is a post-modern reflection of the multicultural diversity we see around us. Many of the roles are cast with different ethnicities and genders than Shakespeare originally had in his company. Especially when one considers that there were few actresses in his time...

But let's speak of the play itself, for after all the play's the thing, and as we learn within, past is prologue.

Prospero, played by the estimable Jim Simpson, and his daughter Miranda, played by Emily Rees, have been stranded on a desert island since Miranda was a toddler. Now, 12 years later, the powerful sorcerer Prospero has whipped up a tempest that shipwrecks a party of nobles hailing from Naples and Milan. Some of these nobles will learn how the world turns, as they are the reason Prospero has been in exile. Simpson's Prospero is Merlin-esque and mysterious as he is conjuring the storm and remains orotund and bombastic throughout. Yet there are times when we see this bombast as a manifestation of the mask that he must affect to hide the sorrow of his betrayal and subsequent exile. Lithe and graceful, Rees' Miranda has the freshness of someone whose associations have been few, as she shows her wonder in the meeting of the man who will be King-her King, at any rate.

The only companions that Prospero and his daughter have had are Ariel, a beautiful sprite and Caliban, the fatherless son of a witch, who is, within and without, a monster. Ariel is played by Gloria Mui, who infuses Ariel with the proper blend of mischief and obedience to show that she's got spirit, although she is willingly doing the bidding of someone presently more powerful than herself. Caliban is played by renaissance man Voltaire Balderrama, who has variously been a director, singer, actor and who finds himself a Gollum-like apparition on a desert island-a poor figure cast adrift and wallowing in his own mire of cruelty, desire for good, and despair at his condition. Caliban's language rolls from Darth Vader-esque low tones through cajoling, wheedling high head voice and everything in between. Balderrama's physicality in the character adds great dimension to the player labeled "monster."

Our first tempest-tossed survivor, intentionally separated from his fellows by the storm, is Ferdinand, played by Gus Ibranyi. Hero-handsome Ibranyi's megawatt smile animates the stage-it's small wonder that Miranda is instantly smitten. His energy is such that even the sea couldn't keep him down for long. And Prospero's provision for his daughter is to bring the two together as if by chance. But chance and coincidence are often closer than we allow.

Washed up separately on the isle is King Alonso, played by Fred Dennehy with a stentorian basso profundo that is a joy to the ear. Alonso's voice and mien are kingly, to be certain, and his command voice rings through the small theatre with great finesse. His vizier, Gonzalo's speech is more flowery, higher in register and given to the meanderings of an old man, ably played by Anne Kenny Simpson, another player whose vocal register, while staying in the mid-to-upper ranges, keeps intonation more in the male style, while varying pitch like a virtuoso. And Gonzalo, we will see, is loyal to the core to the true Duke of Milan.

photos by Voltaire Balderrama
Caliban (left); Miranda and Ferdinand (right)

Accompanying the faithful Gonzalo and the grieving Alonso, who believes his only son, Ferdinand, to have drowned, we have the despicable duo of Sebastian and Antonio, played by Scott Guzzo and the Snidely Whiplash-like Frank Blauer. Antonio is Prospero's brother and the agent of his undoing some dozen years prior. Remaining a provocateur, Antonio works on Sebastian to kill his brother, Alonso, so he might be king. Fortunately, they are foiled at every turn!

Comic relief is rife in Shakespeare and Stephano, played by Paul Diverio, and Trinculo, played by Kate Daly, become the would-be Master and Foil, respectively, for Caliban's twisted plans of revenge and domination. This duo, however, is mostly defined, and defied by, the acquisition of drink, which makes for comic relief in this otherwise dark tale of betrayal.

Penny Paul's deft direction, and use both of space and the kinetic talents of her light-footed cast illuminate this production. Ariel's light singing rings out whispery and bell-like and her flute playing, from her accustomed perch on a ladder-cum-branch, is as light as a dream. Caliban's wiles and meandering mind, evident in his vocalise delivery, and Prospero's physical domination of the scene are heightened to impressive artistic effect.

Philip Rogers' production and set design are magic in themselves. Prospero moved so fluidly around a column onstage that at first I wasn't certain whether that reflected the actor's own movement, or if there was a subtle mechanical device in play. I'll let you determine for yourself. The atmospheric lighting and primitive Druid-esque, New Age flavor of the incidental music underscores the wildness of the terrain both physically and emotionally where we find ourselves washed ashore. Gloria Mui also designed costumes beautifully. Leyda Torres is the Stage Manager. The gift of community theatre is in playing various roles both behind and in front of the curtain, even when there is no curtain.

Great seats at $15 are still available for this run, which began on November 7 and runs Friday and Saturday evenings at 8pm and Sundays at 2pm through November 22. Tickets are available at the box office or via www.nutleylittletheatre.com. Don't miss "The Tempest!"

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