The pairing of Zinger and Gardell is as inspired as that of Chris Ebacher as the island’s resident “monster,” Caliban, and Allerlei Hume as the drunken butler Stephano. These two play off each other, along with Chief Benavines’ dazed and clownish turn as the jester Trinculo, like a zany comedy team.

Ebacher is a brawny, grotesquely amusing configuration, more scared than scary, endearingly peevish at being held captive by Prospero for once attempting to force himself on Miranda. Hume continually delights with her exuberantly playful, ingratiating performance and crisp, confident diction. It’s a joy to see actors wonderfully at home with Shakespeare’s dialogue. Zinger, Gardell, Ebacher and Hume will make your trip to the countryside worth a trip to the gas pump.

But, as director Marty BlackEagle-Carl candidly told the audience in a pre-show speech that hinted at casting and rehearsal setbacks, “we have to make do with what we have.” It’s an admission of compromise epitomized in the casting of Robert Deselms as Alonso’s “honest old counselor” Gonzalo. Deselms does his best in the part, but unable to memorize his lines, much of his performance is dependent on reading directly from the text of the play, a gambit that elicits an embarrassed sympathy for DeSelms and those playing off him.

Sean Gardell’s late and vigorous entrance as the Boatswain is a minor but well-played exception to a cast that often invests the Bard’s text with awkward formality and stilted cadence. Steve Curtis (Alonso), Matthew Curtis (Ferdinand), Paul Winslow (Antonio), Chip Winslow (Sebastian), and Nicolette Forte (Miranda) tackle their roles with mixed results.

Once again, sound engineer William De Pari, battling the outdoor elements, had trouble keeping the actors’ voices amplified, so it was hard at times for some of the not so closely seated audience to hear what was being said. The pastoral set design is a plus, as are Laura Koch’s inventive costumes and Hume’s savvy makeup and special effects. Compromised though it may be, there’s something oddly, charmingly quixotic about a show that manages to rise above its self-proclaimed pitfalls and deliver a very acceptable two hours of Shakespeare.