A straight from the gallery laugh visit with Caliban in the 21st century.  Blues for Caliban is a two-act play in Shakespearean verse that updates The Tempest.
A thousand years after The Tempest, PROSPERO bequeaths his wealth and magic to his lone heir, the aspiring rock minstrel AURELIO.  The lad is rakishly handsome, unflaggingly optimistic, hopelessly romantic—and a bit thick:  AURELIO’s inheritance will take effect on his wedding day. He’s about to marry the fair CHLAMYDIA, a woman of many moods, all of them bad: But CALIBAN has weathered the eons too—nursing a festering grudge. (Not much need in the skilled workforce for mooncalves these days.) He is his usually charming self: 
Revenge comes through the machinations of yet another familiar villain: IAGO.  Posing as rock impresarios, CALIBAN and IAGO plot to send AURELIO on his Farewell Tour (literally). As AURELIO and his best friend TIMOTHY take off for stardom (flying on Buddy Holly Air), CALIBAN arrives to take his place. He is, he claims, the real AURELIO, made monstrous by a witch’s curse. CHLAMYDIA is skeptical, until CALIBAN bares his—Dun & Bradstreet rating. She commands that the nuptials go forth.  As CALIBAN starts throwing Rolexes and BMW keys to the townsfolk, they quite eagerly adopt him as “the new, improved Aurelio.” Meanwhile, AURELIO and TIMOTHY have fallen from the skies and into the belly of a whale.  Safe to say, they achieve the most bizarre of rescues, and arrive at the castle in time to hear the first chords of the wedding dirge. The climax of Blues for Caliban can only be described as Queen Mab meets Hellzapoppin.  Many great Shakespearean mysteries are revealed, as characters from other plays arrive to see justice done.