The wonderful thing about live theater is just that — it is live. No matter how well-rehearsed (the ShakesBEERience actors only have 2 or 3 run-throughs), and well-directed (John McLuggage has left his mark on a wide variety of San Jose’s best shows), expect the unexpected. So when Hermione, played by Maryssa Wanlass, is so engrossed in her spirited self-defense that she angrily rips a page from her script, the resulting expletive — though certainly not in script — seems to be very nearly in character.

The Bard’s works are alive and well through companies such as ShakesBEERience, and being repurposed all the time to keep them in the moment. This production of "The Winter’s Tale" was used as a vehicle to toast and remember the works of another seminal artist, one David Bowie. King Polixenes, played by Jeff Kramer, is King of Bohemia, but here it is renamed BowieHemia. Traditionally these boozy Bard-fests find an excuse for a running toast-line, and this time it was every utterance of the name Bowie, whether it was BowieHemia or just thrown in to make sure the audience was still awake. Which we all were. Certainly one way to keep the bar staff busy. Which they all were.

King Leontes of Sicilia, played lustily by Ian Leonard as though he verily had royal blood in his veins, feels that his friend King Polixenes of BowieHemia, who is staying with him, has rather more than outstayed his welcome, especially with Leontes’ wife, Hermione. "His pond is being fished by his neighbor." And when Leontes’ wife Hermione gives birth to a daughter, Leontes is sure that the child is a bastard of Polixenes. "This brat is none of mine," he declares, and tells Lord Antigonus to "Bear this child to some far place, past the Tech Museum. Leave it with the hotdog guy." You see, even in Shakespeare’s 400th year he can still be up to date

Tragedy strikes Leontes when his and Hermione’s son dies of some illness, and Leontes is convinced it is due to Hermione’s infidelity. She is put on trial and defends herself vigorously (losing above mentioned page of script), and even though word arrives from the Oracle at Delphi that Hermione and Polixenes are innocent, Leontes refuses to believe it.

At news of their son’s death however, she falls into a swoon and is carried away by trusty friend Paulina (Doll Picotto), who then reports her death to the now repentant Leontes

Derek McCaw, playing the king’s faithful Camillo, is always a joy to listen to with his deep baritone delivery.

ShakesBEERience is no ordinary Shakespeare reading. The actors carry their scripts around with them, dress in regular clothes, and spend only half their time on the stage, spending the other half moving about the café and the audience. As a result, you’re never quite sure where to look for the next piece of action or the next speech, or indeed the next Bowie reference. "Let’s Dance," "Serious Moonlight," or whispered as an aside by Leontes, "Under Pressure."

But back to the plot. Antigonus (Lee Kopp) takes the child and leaves it on the shore of BowieHemia. He tries to take pity on the child, but is chased off by a bear, giving rise to one of Shakespeare’s most famous directions, "Exit, pursued by a bear." Though director John McLuggage of course makes it a Cal Bear, just to add a little local reference.

Autolycus, a rogue, played animatedly, and roguishly, by Gendell Hing Hernandez (a bit like Dickens’ Fagin in "Oliver Twist"), inserts himself into the plot by stealing money and various articles, but also by his actions guiding certain characters. He of course uses an iPad instead of a mere paper script. The play ends with the passage of 16 years, and Hermione’s statue (standing on the Café Stritch bar no less!) gradually coming back to life as the king repents. His daughter is found, the oracle is fulfilled, the two kings/friends are reconciled, and everyone lives happily ever after. And in the words of David Bowie, there is much "Dancing in the Streets."

ShakesBEERience’ next production is "The Comedy of Errors," which is about two people looking the same as each other. Twice. Should be fun. Café Stritch, Monday, April 25, 2016, 6.30 p.m.-8.30 p.m, Free, but get there early! The place fills up well before the play starts.

Email Tony Lacy-Thompson at tonylt@regardingarts.com