Theater Review: Chanticleer’s ‘The Tempest’ offers magic that doesn’t quite connect
BY HEATHER PARISH
In his director’s note, Chanticleer Shakespeare Company Artistic Director Blake Ellis writes that “this production (like all theatre) is about connection, between language and music, between artists and audience, and between all of us gathered in the same space for a brief, shared moment.” It’s a powerful statement, and one all art should have in its sights. However, in its second outing, Chanticleer Shakes doesn’t quite connect the dots for a fully compelling “The Tempest.”
Shakespeare’s “The Tempest” follows Prospera (Jaqueline Antaramian), a deposed ruler living in exile on a remote island with her daughter, Miranda (Lauren Mackenzie Skemp). Using her command of magic, Prospera conjures a storm that shipwrecks her enemies, setting in motion a series of encounters among nobles, servants and spirits. As old betrayals surface and new relationships form, Prospera must ultimately decide whether to pursue vengeance or forgiveness.
At the center: Prospera
Antaramian’s Prospera is a compelling figure from her first appearance center stage. Her voice and presence seem made for a complex heroine with an authoritarian, matriarchal bent. She uses her wits and magic to survive a harsh environment for decades, yet in doing so oppresses the island’s original inhabitants, Caliban, Ariel, and various other sprites. She is both colonialist and refugee. Oppressor and victim.
Within the world of the play, Prospera is the only character who isn’t truly experiencing anything new. She is at the end of her period of discovery, while everyone else is still encountering novelty . . . new people, new experiences, new emotions and new ambitions. This sets Prospera apart from all others, which leaves a heavy weight in that magical cape.
On opening night, Antaramian faltered during Act I’s telling of the Sycorax story (Caliban’s origin) to Ariel. She began well, but her focus seemed to shift at a pivotal moment, resulting in a labored monologue that was tough to overlook. She soldiered through and regained her footing soon after, though she never quite recovered her rhythm. Even so, her skill and professionalism yielded an admirable performance, one that carried a palpable sense of fatigue by the final act, which, in truth, suited Prospera’s final moments.
Notable character turns
Standout supporting performances include Greg Parker as Gonzalo and Joey Swift as Trinculo, who bring a grounded sense of hopeful wisdom and resilient humor to their familiar roles as counselor and fool. Tracy Hostmyer makes the most of a brief appearance as Antonia, Prospera’s usurping sister. The gender switch highlights a striking parallel to Lady Macbeth that proves both sharp and entertaining.
STORY CONTINUES AFTER SPONSORED CONTENT
Where it connects
Movement and Voice
Ariel and company are among the production’s strongest elements. Brandon Robert Kane’s Ariel moves and speaks with an airy fluidity, even while executing more threatening magic. His singing is a particularly lovely addition.
David Rasner’s Caliban is firmly earthbound, his vocal work and physicality combining to create a hunched, rock-like presence that moves with surprising power. Ensemble members Alexander Gonzalez, Shelby Guizar and Nick Sterling deliver the spritely choreography with clarity and commitment.
The physical storytelling during the storm and magical sequences is fully embodied by much of the cast. Each time the spirits cast their spells, one might declaim, “The power of interpretive dance compels you!”
Music
Original music by Daisy Coole and Tom Nettleship, performed by three members of the Fresno Philharmonic Orchestra (Pamela Ellzey, Alana Shannon and Corey Ritter, under the music direction of accompanist Terry Lewis) is a welcome addition and integrates effectively into the narrative. I did wish the musicians were more visibly part of the spirit ensemble, contributing to the island’s magic, but I understand the choice to keep the music disembodied. At times, however, the music makes the actors harder to hear, particularly as they perform without amplification.
Design
Costumes by Kelly Pantzlaff Curry are traditional but effective, unified by a restrictive palette of air, earth and water. The production’s spectacle is arguably its most polished element. Scenic design by Joel Abels, combined with projections and lighting (from Dan Aldape), adds depth and visual interest, creating atmospheric magic like intangible smoke and mist that never make an audience cough.
A highlight moment is the mystical marriage officiated by Ariel, one of the production’s most successful integrations of lighting and projection directly into the narrative.
Where it falls short: the human touch
For most characters in “The Tempest,” the story is one of adventure, upheaval and transformation. The stakes should feel immediate and visceral, with a sense of urgency driving both actors and audience. Ellis’ direction misses that element. The pacing remains largely static, with few clear contrasts between the human and spirit worlds.
While the language is frequently expressive, it isn’t matched by meaningful character interaction. Physical connection between characters is notably sparse. Shakespeare’s language demands more than recitation in the direction of the audience; they require the engagement of muscle and sinew, bodies in motion, relationships in tension.
Antaramian’s Prospera and Kane’s Ariel come closest to capturing the complexity of their intimate dynamic. Elsewhere, the direction rarely offers the opportunity to explore that same depth. The result is a disconnect between beautiful human language and the immediacy of lived human experience.
Sophomore slump
Ultimately, this production feels like a sophomore slump. The ingredients are all there: experienced performers, promising new voices, strong design and a timeless story. What’s missing is vision and cohesion, the alchemy that transforms these elements into a gripping, life-giving experience.
Where I would like to see Chanticleer Shakes level up next year is in combining those assets into a cohesive, human experience that can get the audience’s heart racing and cheering in the aisles at the end of the show. Shakespeare doesn’t require perfection; it requires vitality—flawed, physical, emotionally immediate.
That human connection is what makes Shakespeare the poet for all time.
Looking ahead
It’s worth noting the meaningful strides Chanticleer has made in its second year. The addition of a student matinee and curriculum materials, an expanded media presence and a fruitful partnership with the Fresno Philharmonic all point to a company growing with intention. Continued investment in both Equity and local talent is especially encouraging. The trajectory feels sustainable, and there’s reason to be optimistic about what 2027 may bring.
“The Tempest” continues at the Warnor’s Center for the Performing Arts through May 3, 2026.
gp7594earthlinknet
Given the fact that Chanticleer Skaespeare Company has struggled valiantly to bring professional Shakespeare production to Fresno, you could have been kinder in your review. None of us is perfect, but having lived in the UK for almost 15 years, I saw many classic Bard plays, and the productions by CSC of Richard III and The Tempest both are comparatively as good as what I saw in the UK. Yes, CSC’s The Tempest wasn’t a perfect enactment, but it remains far better than the past Shakespeare in the Park amateur productions.
I might suggest you be far more critical of the Rogue Festival, which has see better days than the lackluster past few years. You and your husband might try to bring better fulfillment to future Rogue Festivals and let CSC continue in its noble efforts to keep professional Shakespeare theater alive locally.
Respectfully,
Jerry Palladino
Jeanie McKelvey
“ but it remains far better than the past Shakespeare in the Park amateur productions.” Of course it’s better than the Free Shakespeare in the park, you’re comparing a professional company to a free community theater production. They aren’t in the same category of competition and therefore, should not be compared.
Kristin Lyn Crase
As a friend and colleague of Heather’s I read Jerry’s response with confusion. First because I know that HP has not been involved in the leadership of Rogue since 2022, and finished her tenure at Woodward in 2010, and was therefore not involved with those two groups in the timeframe that he is referencing. Second, I’m also confused why a member of the community would take this opportunity to shit on the many artists, administrators, and volunteers that were involved in those groups. It’s like comparing apples to flapjacks.
Talking about the reviewer’s other projects, and/or work, is best kept to the private group chat.