Corporate Chaos and Calamity: A Playful, Office-Themed Tempest That Delivers at For The Whim Productions

by Brian Keith Graziani

As director Andrew Jarema references, imagine “Succession, The Office, or Parks and Recreation” melded together with farcical tropes. Add in an intimate playing space, and a bold and outlandish group of comedic talent, and you have For The Whim’s production of Shakespeare’s The Tempest. Your reviewer had the pleasure of venturing out to Bridgeton for the opening performance of this spin on this classic tale. From the moment you step into Hopeloft, a converted commercial space in the heart of Bridgeton, you’re immediately transported into what I found to be the cross between a fairies' playspace and a corporate meeting room. The cost of your ticket covers your typical break room refreshments and snacks. While I'm not sure it aligned with the impending corporate theming implemented into this production, it added for a relaxed theatrical experience before you even step into the theatre.

As noted in the director notes and the pre-show speech, Jarema makes a very clear point to say this iteration is fanciful, playful, and dreamlike. While a typical production of the Tempest is set on a mostly deserted island, Jarema has chosen to set this production in a “modern, corporate business world with a twist of playful meddling magic”. While the basis of the plot holds true, sorcerer and former Duke of Milan, Prospero (Jim Ludovici) uses his magic to bind his Brother Antonio (Carey Walden Pangia) and his colleague’s to a deserted island (or in this case a conference room…same thing right?). Flipping the idea of this family rivalry on it’s head Prospero’s role shifts from former Duke of Milan, but rather CEO of “Syrocrax & Co”, a business entity in a long rivalry with “Milan & Co.” (get it?) run by their CEO Alsonso (Rachael Smith). This corporate theming cascades down to all of your typical office tropes. Instead of fairy, Ariel (Brinah Iglesias) is now the office intern (they really do make magic happen huh?). Heir Syrocrax empire, Miranda (Ash Kotter), assumes her role as young lover with rival heir to the Milan empire, Ferdinand (Brian Danner). Among the other cast of characters…um I mean…staff members, are the “real” owner of Sycorax, Caliban (Joe Dugan), the executive secretary Gonzalo (Melissa Kiessling), various office team members CERES/IRIS/JUNO (all played by Leila Baez) and Sebastian (Paul Ranck “Cheever”), and the of course the office security team Stephano and Trinculo (Jason MacDermott and Desiree Lara respectively). While the cross-examining of the original text versus this adaptation would be too lengthy to detail, I can say this is a light hearted farce that holds the ideals of the some very universal themings. Andrew Jarema puts it perfectly in his director’s note: “But the themes, I warrant, remain just the same. Betrayal, loss, and corruption juxtaposed with love, discovery, and ultimate forgiveness. All unified by the fact that, no matter our story, it all eventually melts away as if just a dream.”

As a whole the cast took on the challenge of this concept head on. The enthusiasm and chemistry between every single actor was palpable. The bold choices allowed to seamlessly pass through some aspects of the plot that didn’t necessarily always connect from text to concept. Most noteworthy for me were Kotter and Danner’s takes on Miranda and Ferdinad respectively. Their scenes, although silly, possessed nuanced yet bold storytelling that had such a strong handle on the text. Their chemistry on stage almost removed the veil that often can come with the piece of the audience’s bandwidth that goes into translating the language. A special shoutout is also owed to Ludovici’s take on Prospero. His confidence in this text was evident, and helped anchor some opening night jitters amongst his peers. He was not thrown by the audience’s presence, but acted as a guide to keep us invested in the story, while staying reminding us who was in charge. He had a mobster take on this role (a Mobster from Milan? Clever) with a kitsch Italian accent that matched the energy of the piece, but he really had the audience in his palm when he dropped the façade towards the end and spoke plainly. Very moving indeed.

As a whole, a concept or reimagining of text, in my view, should open the play up to the audience in a way that will illuminate the character and the text that is accessible to them. Perhaps that was the goal here, however in this instance, the reason for an actor saying their lines is often changed greatly or negated by a concept that is in the way. In turn it makes it more difficult for the sentiment at play to be received by the other character’s on stage, and the audience at large. I wish in some capacity this concept was fleshed out more, but I also understand the director’s precursor that this was going to be an evening of fun. It certainly was that. However, if the intent was to put the play on its ear and use characters in a new context, I have to wonder why this story in particular was produced. Regardless it was an evening of light, and the actor’s enthusiasm for the words was well received by all. A general note of more commitment to diction and navigating sightlines in this particular space could go far. That being said, Jarema’s staging added layering in an intimate space that could often be looked at as a hindrance rather than an asset. Most notably, there is a fantastic scene highlighting Caliban, Stephano, and Trinculo that features a shower curtain of Da Vinci’s Virtruvian Man. It should be noted that Jarema not only directed the piece by designed the set in which they set the scene! While navigating physicality in this space could hinder the entertainment value, Jarema’s whimsical staging allowed for this type of prop work to help the actor shine. Also not for nothing, not many people can successfully execute a fully functioning turntable in a commercial space turned theater. Well done! Also Nerys Muller navigated the costume to add the white collar effect effectively. Joe Dugan also set a lighting design that required such precision that every accented sentiment was layered with a nuanced aesthetic. 

While I don’t usually implement feedback on staff candor, I think it’s worth noting that every single staff member I interacted with on this particular evening made a point to thank us for taking in an evening of live theater, especially in their space in particular. This commitment to consumer experience does not go unnoticed, as many larger theatrical entities in the area could take note on how to keep an audience wanting to come back for more! The Tempest was an evening of whimsical fun, that I cannot recommend enough for Shakespeare aficionados and 9 to 5 office working survivors alike. The Tempest runs now till November 16. You can purchase tickets here: https://www.eventbrite.com/o/for-the-whim-productions-30818078964