Gamut Theatre presents a visually stunning and creative "The Tempest"

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A Stunning Production

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Shakespeare’s The Tempest is a story with many layers, including, but not limited to, themes of revenge, forgiveness, power, magic, comedy, tragedy, and romance. This multi-faceted play has inspired varied interpretations and adaptations throughout the years. This fall, audiences can experience this thought-provoking play at Gamut Theatre under the direction of Diego Sandino, with production stage manager Kim Dickerson, assistant stage manager Lex Russotto, production assistant Kaci Laconte, and producer Erin Shellenberger Oct 3-18.

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Once again, Gamut has created a visually stunning work of art with their production of The Tempest . The costumes (designed by Callie Lythegoe and crafted by Rebekkah Hurlbert) and props (designed by Elizabeth Hood) are simply beautiful. The lighting (designed by Karen Gasser), set (designed by Grant Komm and Janos Boon), and sound (designed and composed by Noah Smull) transport the audience to the island. Jasmine Pantoja’s choreography is delightful to watch. Each artistic element of the production highlights the play’s “celebration of culture and…powerful examination of what it means to share our land and our love” (gamuttheatre.org/tempest).

The entrancing cast features Georgia-Gray Bailey (Spirit), Mia Graci (Juno), Nikki Heckermann (Ceres), Victoria Debernardis (Iris), Reb Loucas (Boatswain), Lisa Leone Dickerson (Alonsa), Logan McDonnell (Francisco), Kelli Kauterman (Gonzalo), Brennen Dickerson (Sebastian), Dallas Mease (Antonio), Alex Winnick (Stephano), Grae Hoover (Trinculo), Morris Mwangi (Caliban), Brendan Wolf (Ferdinand), Weimy Montero Candelario (Ariel), Hope MacKenzie (Miranda), and Melissa Nicholson (Prospera).

From the very first moments of the show when Prospera calls forth a storm, the audience is immediately mesmerized. Bailey, Graci, Heckermann, and Debernardis weave in and out of the scenes as spirits who take on multiple roles throughout the show. Their swift and graceful movements and energy suffuse the space, giving them an ethereal air and adding to the sense of magic. Loucas gives a strong performance as the Boatswain, bravely facing the storm while trying to get the nobles traveling with him to take shelter and get out of his way. His demeanor and gestures speak to a life at sea and separate him from his passengers.

Lisa Leone Dickerson’s Alonsa is poised and staid, even as she grieves the assumed loss of her son. She particularly shines in her final scene as she discovers that her son is alive, finally allowing emotion to crack her royal façade. McDonnell and Kauterman work well together as Francisco and Gonzalo, two of the only characters not trying to overthrow the royal family. These actors infuse their characters with ardent loyalty, compassion, and sincerity. Brennen Dickerson and Dallas Mease are a dynamic duo as Antonio (Prospera’s brother) and Sebastian (Alonsa’s brother). These scheming brothers come across as intelligent, sly, and ambitious. Dickerson and Mease deliver their rapid-fire dialogue with seeming ease, keeping the audience waiting with bated breath to see what these villainous brothers will conspire about next. Winnick and Hoover take on the clownish roles of Stephano and Trinculo, respectively. Their physical comedy is top-notch, and they bring chaotic, over the top comedy to the stage. Mwangi takes on the role of Caliban, one of the most complex characters, who shines a light on questions around power, slavery, racism, and so forth. Mwangi portrays this role with outstanding physicality and intensity.

Wolf’s performance as Ferdinand is like a breath of fresh air. His Ferdinand is guileless and sweet, and his interactions with MacKenzie’s Miranda are adorable. This reviewer hopes to see Wolf in many more future productions. Candelario, MacKenzie, and Nicholson take on the roles of Ariel, Miranda, and Propsera, respectively. These dynamic actors are incredibly engaging, keeping the audience interested for the duration of this lengthy play. Candelario gives one of her best performances to date as Ariel. Her energy, infectious laugh, impish facial expressions, and beautifully crafted movements bring the character to life. MacKenzie’s Miranda sparkles with curiosity, excitement, and joy. Her every movement is like a dance and her facial expressions clue the audience in to her character’s emotions. Nicholson commands the stage as Prospera. Her storytelling prowess makes Shakespeare’s words easy to comprehend, even for those who may normally find it challenging. Nicholson and MacKenzie have wonderful chemistry on stage, creating the feeling of a real mother-daughter relationship.

Sandino’s interpretation of The Tempest is creative and refreshing. This story of love and forgiveness is one that resonates with our innermost hopes and dreams. Wouldn’t it be wonderful if we could all look at one another and say, as Miranda does, “O wonder! How many goodly creatures are there here! How beauteous mankind is! O brave new world, that has such people in 't!”? Get your tickets for The Tempest now at gamuttheatre.org/tempest.

Photo Credit: John Bivins Photography

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_Originally reported by [BroadwayWorld](https://www.broadwayworld.com/central-pa/article/Review-THE-TEMPEST-at-Gamut-Theatre-20261004)._