Stormy Ride ëTempestí Has Too Many Bells and Whistles, Not Enough Substance by Lisa Troshinsky The only thing tumultuous about ìThe Tempest,î currently at the Shakespeare Theatre, is the productionís stormy weather, theatrical tricks and uneven performances. Save from Daniel Breakerís whimsical portrayal of Ariel, this production doesnít salvage much of the mystical intrigue or emotion of a play that is said to be one of Shakespeareís romances and his last independent contribution to the theater. Although this production instantly draws you in with its dramatic lighting and lifelike storm sound effects (kudos to lighting director Charlie Morrison and sound designers Rob Milburn and Michael Bodeen), it quickly morphs into a mismatched landscape of weak performances and nebulous scenes that fade into one another without obvious intention. The play tells the story of master magician Prospero and his desired revenge on Antonio and Alonso, who conspired to unseat him as duke of Milan and then exiled him out to sea. Prospero conjures up a violent storm to bring his wrongdoers and their entourage to the deserted island that he and his daughter Miranda have been inhabiting. Since his arri val on the island, Prospero has enslaved Caliban, whose mother, Sycorax, once ruled the island. Heís also freed the spirit Ariel from one of Sycoraxís spells, who in return pledges servitude to the magus. Scholars have described the script as a magical, otherworldly fable that grapples with notions of right and wrong, enslavement and freedom, and revenge and forgiveness. These powerful ruminations are all but buried in director Kate Whoriskeyís (debuting at the Shakespeare Theatre) confusing vision. This ìTempestî has a circus-like quality: lots of antics with little substance. It assails the audience with an impressive set and costumes that appear to be injected with steroids. A monstrous bowel of a broken ship that rotates to become another part of the island is home to giant, spinning, multicolored pinwheels, sailors suspended upside down to connote near drownings, as well as towering, fictitious, indigenous animals, to name a few. Although impressive in mass and energy alone, this fanfare doesnít mask the many uninspiring performances, including that of Prospero, portrayed by Philip Goodwin. Mid-19th-century romantic notions suggest that Prospero is Shakespeare, and just as Prospero lets go of his power in the end, ìThe Tempestî is the playwrightís farewell to his art. But Prosperoís consequent sadness and the serious moralities he must grapple with are not excuses for the diminutiveness with which Goodwin inhabits his character. Here, Prospero seems to have lost all testosterone following the loss of his dukedom. He experiences no vigor from taking over the island, and resorts to living vicariously through his devoted, fervent servant Ariel. This Ariel is easy on the eyesómuscled, athletic and graceful. Breaker seems to have merely picked up from where he left off with his role as Puck in this seasonís earlier ìMidsummer Nightís Dream.î Never touching the ground and rigged by invisible wires, he somersaults to his masterís side, hangs upside down like a bat when resting, and overall makes good on Shakespeareís intention of fantasy for this play. The characterization of Miranda, portrayed by Samantha Soule, is solid but unexciting. Same is true for her newly found husband, Ferdinand, played by Duane BouttÈ. Itís unclear if it is the fault of the director or actors when it comes to the tedious scenes of the shipwrecked crew, who speak at one another as if theyíre reading from the script. Whoriskeyís choice for the monstrous Caliban breathes needed passion onto the stage, although it could be seen as a controversial pick in this political climate given that Palestinian Daoud Heidami was cast in the part. In defending her choice, Whoriskey said at the Shakespeare Theatreís Windows discussion, ìI made Caliban sympathetic. I auditioned a lot of Calibansówhites, African Americans Ö and Heidami, a Palestinian, had experience of fighting over land, and that came through in his reading. ìCaliban plans a murder plot and attempts to rape Miranda, but this play is about good and bad guys. Itís about the complex nature of human beings and the complexity of power,î she added. Whoriskeyís inclusion of different ethnicities and race in this production works well. The uncharted island is a fusion of African and Arabic influences. The cast is multiracial, and music and phrases include those from Swahili, ìArabic-Englishî and classic Arabic. ìThis was an effort to explore the impact the Western world has on Africa and the Middle East, and to underscore the tensions, both personal and political, that exist between these cultures,î Whoriskey said. Although the production is overall a bumpy ride, Whoriskey makes a lasting impression with her finale. Arielís first, shaky, hesitant steps on earth after heís gained sovereignty from Prospero are an appropriate and poignant ending. ìThe Tempestî runs through May 22 at the Shakespeare Theatre, 450 7th St., NW. Tickets are $12.75 to $68. For more information, please (202) 547-1123 or visit www.shakespearetheatre.org. Lisa Troshinsky is the theater reviewer for The Washington Diplomat.