‘La Tempestad’ Transcends Language at Trinity Rep

Mauro Hantman as Prospero. By William Shakespeare; Translated and Adapted by Orlando Hernández, Tatyana-Marie Carlo, and Leandro “Kufa” Castro; Directed by Christie Vela; Scenic Design by Dahlia Al-Habieli; Costume Design by Yvonne Miranda; Lighting Design by Carolina Ortiz Herrera; Sound Design by John M. Flores; Projection Design by Tláloc López-Watermann; Fight Choreography by Mark Rose; Movement and Intimacy Coordination by Jackie Davis; Vocal & Dialect Coaching by Cynthia Santos DeCure; Dramaturgy by Dante Flores. Photo by Susanna Jackson.

“Sounds like too much work.”

This was one of the responses I was met with when I initially texted a group chat asking if anyone would be interested in joining me for a viewing of Trinity Repertory Company’s La Tempestad, a.k.a. Shakespeare’s The Tempest. I had explained that while I wasn’t sure of the exact logistics, the comedy would be performed in both English and Spanish with subtitles available for each. And, sure, having only a basic, high school-level knowledge of the latter language (ten years removed, mind you) plus a vague memory of the play’s plot meant I also found the concept a bit daunting, but I was excited by the challenge all the same. Luckily, another friend was on the same page and off we went to downtown Providence this past Wednesday night.

Prior to the outing, I learned that La Tempestad was adapted from the original play and developed by Orlando Hernández (with Tatyana-Marie Carlo and Leandro “Kufa” Castro) for Rhode Island Latino Arts and Trinity Rep’s joint bilingual summer theater program, Teatro en El Verano. Its premiere marked the program’s first journey to Trinity Rep’s main stage.

“Shakespeare has been translated into over 100 languages, and the first known staging in another language (German) happened in 1620,” says artistic director Curt Columbus. “Trinity Rep’s production of La Tempestad stands in that great tradition, but it uses a combination of the original English text and Spanish translation. That combination creates a linguistic and political frame for the play, one that is more relevant today than it was when we first programmed it.”

Lily Kops as Miranda and Anne Scurria as Gonzalo. By William Shakespeare; Translated and Adapted by Orlando Hernández, Tatyana-Marie Carlo, and Leandro “Kufa” Castro; Directed by Christie Vela; Scenic Design by Dahlia Al-Habieli; Costume Design by Yvonne Miranda; Lighting Design by Carolina Ortiz Herrera; Sound Design by John M. Flores; Projection Design by Tláloc López-Watermann; Fight Choreography by Mark Rose; Movement and Intimacy Coordination by Jackie Davis; Vocal & Dialect Coaching by Cynthia Santos DeCure; Dramaturgy by Dante Flores. Photo by Susanna Jackson.

So, how did they pull it off? The subtitles were incorporated directly into the set design, with large screens hanging directly above the stage as well as to its right and left so audiences could check in from all vantage points in the intimate Dowling theater. The translations were projected in real time as the actors spoke, along with background images of lightning strikes, and ebbing ocean waves to help set the scenes.

I will admit, I was sometimes distracted (read: impressed) by the actor’s seamless transition between the two languages — often switching every other sentence — and so I certainly missed some of the Spanish subtitles throughout the production. (Again, I do know some vocab words and grammar, but of The Bard variety? Absolutely not.) But in the end, it didn’t matter: the story — which, for those who don’t know, follows an exiled Duke who uses magic to orchestrate a shipwreck and force his enemies to be stranded with him on a remote island — was clearly conveyed by each and every one of the talented stage actors. Even if I missed a line or two every so often, their expressions, body movements and interactions always told me exactly what I needed to know. The show transcends language.

“Our adaptation continues Shakespeare’s investigation into language, power, and place, guided by our experience of living in multiple languages, code-switching, and negotiating power and belonging.” Hernández says. “It also writes against Shakespeare by centering the characters of Ariel and Caliban, celebrating a Caribbean and pan-Latin American perspective.”

Some more highlights included:

Alexander Crespo-Rosario II (foreground) as Ariel and Mauro Hantman (background) as Prospero. By William Shakespeare; Translated and Adapted by Orlando Hernández, Tatyana-Marie Carlo, and Leandro “Kufa” Castro; Directed by Christie Vela; Scenic Design by Dahlia Al-Habieli; Costume Design by Yvonne Miranda; Lighting Design by Carolina Ortiz Herrera; Sound Design by John M. Flores; Projection Design by Tláloc López-Watermann; Fight Choreography by Mark Rose; Movement and Intimacy Coordination by Jackie Davis; Vocal & Dialect Coaching by Cynthia Santos DeCure; Dramaturgy by Dante Flores. Photo by Susanna Jackson.

• Alexander Crespo-Rosario II as scene-stealing Ariel, the island spirit. From his unnerving black contacts and whimsical ocean-inspired outfit to his fluid acrobatics and sassy-yet-jovial demeanor, I couldn’t take my eyes off him whenever he took to the stage.

Justin Mitchell as Ferdinand, Mauro Hantman as Prospero, and Lily Kops as Miranda. By William Shakespeare; Translated and Adapted by Orlando Hernández, Tatyana-Marie Carlo, and Leandro “Kufa” Castro; Directed by Christie Vela; Scenic Design by Dahlia Al-Habieli; Costume Design by Yvonne Miranda; Lighting Design by Carolina Ortiz Herrera; Sound Design by John M. Flores; Projection Design by Tláloc López-Watermann; Fight Choreography by Mark Rose; Movement and Intimacy Coordination by Jackie Davis; Vocal & Dialect Coaching by Cynthia Santos DeCure; Dramaturgy by Dante Flores. Photo by Susanna Jackson.

• The chemistry. Even though their characters only knew each other for a few hours, Ferdinand’s (Justin Mitchell) swagger-turned-devotion mixed with Miranda’s (Lily Kops) sweet earnestness made the union all the more the believable. Gloria Vivica Benavides as Caliban, Marcel Mascaró as Stephano, and Adrian Peguero as Trinculo were likewise a prime comedic trio.

Gloria Vivica Benavides as Caliban, Marcel Mascaró as Stephano, and Adrian Peguero as Trinculo. By William Shakespeare; Translated and Adapted by Orlando Hernández, Tatyana-Marie Carlo, and Leandro “Kufa” Castro; Directed by Christie Vela; Scenic Design by Dahlia Al-Habieli; Costume Design by Yvonne Miranda; Lighting Design by Carolina Ortiz Herrera; Sound Design by John M. Flores; Projection Design by Tláloc López-Watermann; Fight Choreography by Mark Rose; Movement and Intimacy Coordination by Jackie Davis; Vocal & Dialect Coaching by Cynthia Santos DeCure; Dramaturgy by Dante Flores. Photo by Susanna Jackson.

• As always, Trinity’s size allowed for more interaction from the audience. We all cheered when characters nailed dance moves and were more than happy to comply when Stephano encouraged us to join in while he sang “Gasolina” by Daddy Yankee and “La Vaca” by Mal Fe.

Gloria Vivica Benavides as Caliban. By William Shakespeare; Translated and Adapted by Orlando Hernández, Tatyana-Marie Carlo, and Leandro “Kufa” Castro; Directed by Christie Vela; Scenic Design by Dahlia Al-Habieli; Costume Design by Yvonne Miranda; Lighting Design by Carolina Ortiz Herrera; Sound Design by John M. Flores; Projection Design by Tláloc López-Watermann; Fight Choreography by Mark Rose; Movement and Intimacy Coordination by Jackie Davis; Vocal & Dialect Coaching by Cynthia Santos DeCure; Dramaturgy by Dante Flores. Photo by Susanna Jackson.

• The costumes and makeup. I particularly enjoyed Prospero’s (Mauro Hantman) Joseph and the Amazing technicolor dream coat meets Gandalf’s staff vibes, Caliban’s (Gloria Benavides) tattered robes and face ink and Antonio’s (Alison Russo) and Sebastian’s (Rudy Cabrera) royal hats and ballon pants combos.

If you too would like to experience the joy of La Tempestad, the comedy is playing now through April 27 at Trinity Rep’s Dowling Theater. Purchase tickets at trinityrep.com/show/la-tempestad-the-tempest.