Chesapeake Shakespeare Company’s production of The Tempest is an exquisite, emotional rendition of what is thought to be Shakespeare’s final play. Director Ian Gallanar uses all the magic of theater to create a truly magical theatrical experience. The visuals are lush and stunning. The performa nces are stirring, the relationships authentic, motivations relatable. In a nutshell, the magical ruler of an island creates a storm to shipwreck— but not injure — a ship full of the political enemies whose actions had chased him here. He engineers a love match for his daughter, reveals the perfidy of certain upper echelon, and is restored to his position by a grateful monarch. There’s a lot of backstory that is revealed as mostly monologue, which is entertainingly delivered. The Tempest, as envisioned at Chesapeake Shakespeare Company, is seamlessly transformed from its original all-male cast (save Miranda) to a more balanced energy. Two of the shipwrecked political antagonists become female, while the Island is given feminine Spirits who create a variety of spectacles that make it an enchanting place, including some glorious works of puppetry. One of these opens Act II and is possibly my favorite sequence in the show. Aura Gallanar, Dorienne Hoven, Christina Krawec, and Mari Andrea portray a Beast who interacts with Caliban, played brilliantly by Vince Eisenson. Noah Haren as Ariel in Chesapeake Shakespeare Company’s ‘The Tempest.’ Photo by Kiirstn Pagan Photography. The three-story set is practical and visually engaging. Paired with whimsical projections designed by Mark Williams on the tall screen, it lends a storybook air to the show before the story has even begun. The opening moments don’t really serve as an introduction to the characters, but do set up the shipwreck. To set up the story falls to Prospero, who is played by Christopher Marino, and oh, is he magnificent. His bearing and carriage, the tilt of his chin, and the flow of his hair are at once regal and supernatural. As his foil, and our mouthpiece, asking the questions that reveal the backstory, is Selah Kreeger as Prospero’s daughter, Miranda. She is soft and tender, with very light, almost ethereal, movements, youthful in gait and attitude. Our next introduction is Ariel, a creature of the Island, indentured to Prospero and played by Noah Haren. Haren is wonderfully expressive and graceful, splendidly costumed with wings, as the name suggests. I’m increasingly impressed by Haren’s performance throughout the show. The interplay between Ariel and Prospero is perhaps the best-defined relationship, and it’s filled with the nuance of unequal power dynamics and the uncertainty of promises. Ferdinand, son of the Queen, wanders in and, urged by relief and teen hormones, promptly falls in love with Miranda. As Ferdinand, Drew Sharpe is believably earnest and emotive, and so gosh-darn excited about Miranda, it is quite heartwarming.  The Nobles from the ship are the next people we meet, and among them are performers whom I recognize from A Christmas Carol: Dawn Thomas Reidy playing Alonso, Queen of Naples, and Gregory Burgess playing Gonzalo, former Advisor to Prospero, current Advisor to the Queen. With them are Lesley Malin as Antonio, Prospero’s sister and usurper, current Duke of Milan, and Gabriel Alejandro playing Sebastian, Brother to the Queen of Naples. Everyone is excellently patrician, though soon falling into intrigue and plotting.  Separately stranded are Shakill Jamal playing Trinculo, the Queen’s jester, and Matt Harris as Stephano, the Queen’s substance-using butler. The antics of these two provide most of the comedy in The Tempest, and they are a delight when they’re onstage, separately, together, and with Vince Eisenson as Caliban.  Intermission is an opportunity for bathroom visits, parking vouchers, and an entry into the drawing for a bottle of wine. TOP LEFT: Christopher Marino (Prospero) and Selah Kreeger (Miranda); TOP RIGHT: Mari Andrea Travis and Christina Krawec (Spirits) with a puppet by Chris Reuther; ABOVE LEFT: Christopher Marino (Prospero) and Vince Eisenson (Caliban): ABOVE RIGHT: The cast, in Chesapeake Shakespeare Company’s ‘The Tempest.’ Photos by Kiirstn Pagan Photography. Costuming, by costume designer Kristina Lambdin, is resplendent and character-defining in each and every case. The gown on Prospero’s “false sister,” Antonio, is especially exquisite, and Ariel’s garb is gorgeous. The Tempest’s soundscape, created by sound designer Sarah O’Halloran, is truly superb. It comes from all around and adds greatly to both the storybook aesthetic and immersive feel of the production.  Thanks to some delicious salad and excellent sangria at nearby Ketchy pizza before the show, I do not try any snacks or beverages at the venue this time, though I’ve appreciated both in the past. As far as parking and other theater-adjacent logistics, I recommend most highly visiting ChesShakes’ Plan Your Visit page. I must confess that The Tempest has never been one of my favorites. It is, admittedly, quite timely in its themes of skulduggery, divisiveness, colonialism and patriarchy. My issues with the sketchy quality of the ending, however, are entirely “book” problems. In the hands of Chesapeake Shakespeare Company, The Tempest is truly charming, and lovely to look upon: beautifully crafted, lyrical, and light. Running Time: Two Hours, with one 15 minute intermission The Tempest plays through May 17, 2026, at Chesapeake Shakespeare Company, 7 South Calvert Street, Baltimore, MD. Performances are Thursdays at 7:30 PM, Fridays at 8 PM, Saturdays at 8 PM, and Sundays at 2 PM. There is an additional matinee on Saturday, May 9, at 2 PM. Purchase tickets ($29–$70) by calling 410-244-8570, visiting the Box Office in person, emailing [email protected], or ordering online. The Box Office is open for phone and in-person sales Tuesday through Friday, 10:00 AM to 4:00 PM. For directions, parking, transportation, and other plan-your-visit information, click here. The cast and creative credits for The Tempest are online here. Final Factoid: The Tempest is often regarded as Shakespeare’s personal farewell to the theater, and when Prospero requests the audience to “release me from my bands / with the help of your good hands” in the Epilogue, he is a mouthpiece for The Bard. ...read more read less