“The Tempest” a mixed blessing at Shakespeare & Company

 David Begelman

Theater Critic

The ending lines of Shakespeare’s last play form the couplet “If you from crimes would pardon’d be, Let your indulgence set me free.” Well, forgiveness may extend to many things, but not to deleting those words (or the epilogue preceding them). They celebrate the bard’s poignant farewell to the theater.

But that’s just what director Tony Simotes does in the current production of “The Tempest” in Lenox. There are several other questionable directorial choices in the show, along with positive and innovative touches. All things considered, the beauty of the play and its poetic imagery shine through an occasional misdirected attempt to do justice to one of the glories of dramatic literature.

Simotes has by now has established himself as a master of the comic conceit. His technique is more at home in plays like “As You Like It” or farces than it might be in dark comedies like “Twelfth Night” or in Shakespeare’s later romantic comedies like “The Tempest.” In these plays, an ethereal or magical atmosphere should pervade a vehicle. This can be jarred by the antics of performers who exaggerate how funny they can be or who play tastelessly to the audience.

In the current updated production, the role of Prospero, renamed Prospera, is taken by an actress (Olympia Dukakis). This is hardly news. In the 2010 film adaptation of the same play, the British actress Helen Mirren was cast in the role. Female actors in leading male roles was innovated as early as Sarah Bernhardt’s “Hamlet.” In Shakespeare’s time all female roles were undertaken by males. No point in declaring it’s time to level the playing field. This has been happening all along. The character of Ariel, the sprite who does Prospero’s bidding, is a male role. But it is played as often by women (Kristin Wold in this production).

Dukakis’s interpretation of Prospera seemed to lack gravitas. At times she appeared to be less in command of her “bare island” despite her magical powers. The actress sometimes radiated more agitation than imperial control of events swirling around her. And she tended to become snippy, rather than calm things down in a more serene way. What’s the point of being a powerful magician holding sway over an island if every little setback has you riled up?

Merritt Janson as Miranda, Prospera’s daughter, supplies a richer interpretation of her role. The part is usually taken by an actress who projects simplicity, obedience, and innocence. Janson has Miranda much more gutsy about the “brave new world that hath such people in‘t.” When it comes to Ferdinand (Ryan Winkles), a newcomer to her island, her appetite for him includes some secret hand-holding and schmoozing behind the back of her ever vigilant mother. It’s a rebellion waiting to happen.

Other commendable interpretations were of Gonzalo (Apollo Dukakis), Stephano (Jonathan Epstein) and Caliban (Rocco Sisto). The spirits of Juno (Stephanie Hedges), Iris (Casey McShain), Ceres (Jennifer Young) and Spirit (Monica Giordano) who “Are melted into air” could do without the garish costumes designed by Deborah Brothers. These are imaginary goddesses, not paraders at Mardi Gras in Rio.

“The Tempest” runs through August 19 at the Tina Packer Playhouse, Shakespeare & Company, 70 Kemble Street, Lenox, MA 01240. Performances are  Tuesdays through Sundays at varying 2 p.m. and 7:30 p.m. schedules. Tickets are $15 to $95 and may be purchased online at www.shakespeare.org or by calling the Box Office at (413)-637-3353.