Renée Elise Goldsberry is sensational as Prospero in Public Works musical adaptation of The Tempest (photo by Joan Marcus)
THE TEMPEST
Central Park, Delacorte Theater
Through September 3, free, 8:00
publictheater.org
In 2013, the Public Theater inaugurated its Public Works program, which partners with community organizations throughout the five boroughs, with a musical adaptation of William Shakespeare’s The Tempest, featuring music and lyrics by Todd Almond, who played Ariel alongside Laura Benanti as the Goddess, Norm Lewis as Prospero, Carson Elrod as Caliban, and some two hundred nonprofessional actors from such local groups as the Fortune Society, the Brownsville Recreation Center, the Children’s Aid Society, DreamYard, and Domestic Workers United.
In 2015, Michael Greif directed a nonmusical Shakespeare in the Park version with Sam Waterston as Prospero, followed in 2019 by Laurie Woolery’s streamlined Mobile Unit adaptation with Myra Lucretia Taylor as the sorcerer.
Woolery is back in charge for the latest iteration, a brand-new lighthearted Public Works interpretation with music and lyrics by Miami native and Columbia grad Benjamin Velez in his full-fledged New York debut. Public Theater artistic director Oskar Eustis promised in his introduction we will all be able to boast, “I was there” as Velez’s career takes flight.
Ariel (Jo Lampert) orchestrates drama with the help of her minions in The Tempest (photo by Joan Marcus)
Tony winner Renée Elise Goldsberry (Hamilton, As You Like It) is sensational as Prospero, the rightful duke of Milan who has fled to a remote island after her brother, Antonio (Anthony Chatmon II), usurped her crown with the help of his friend Alonso, the king of Naples (Joel Frost), twelve years earlier. Living with her sixteen-year-old daughter, Miranda (Naomi Pierre), she now rules over dozens and dozens of spirits in addition to her slave, the deformed Caliban (Theo Stockman), and her indentured servant, the sprite Ariel (Jo Lampert).
In the thrilling opening number, a vengeful Prospero declares, “I call upon the skies, the eyes of justice watching over / There sail my enemies, I send the breeze their way / I summon every cloud to be a shroud on those who wronged me / They took my life so now I vow to make them pay! . . . I’ll finally be free / of the tempest in me.”
The shipwreck brings Antonio and Alonso to the island, along with Sebastian (Tristan André), Alonso’s brother; Ferdinand (Jordan Best), Alonso’s son; Gonzalo (Susan Lin), Alonso’s councilor; and the comic relief of Stephano (Joel Perez), the king’s butler, and Trinculo (Sabrina Cedeño), the king’s fool. Prospero sends out Ariel, who can make herself invisible, to create mayhem with her trusted spirits; meanwhile, Miranda and Ferdinand fall in love.
Velez’s songs, with playful orchestrations by Mike Brun, range from the bouncy “Vibin’ on to You,” in which Miranda and Ferdinand proclaim their affection for each other, to “A Crown Upon Your Head,” a chance for Sebastian and Alonso to scheme to take over, although the number is hampered by overpreening choreography (by Tiffany Rea-Fisher) at the end; from the fun but too long “A Fool Can Be a King,” in which the Three Stooges–like trio of Stephano, Trinculo, and Caliban imagine Stephano ruling the island, to Caliban’s mostly unnecessary “The Isle Is Full of Noises.” Goldsberry brings down the house with the rollicking, hilarious “Log Man,” in which Prospero considers the love between Miranda and Ferdinand, singing, “Innocence flies like the last gasp of summer / Childhood dies in the arms of a lover / Nobody tries to hold on like a mother / But one day you have to let go / When she meets her log man.”
Alexis Distler’s set repurposes Beowulf Boritt’s design for this summer’s earlier Hamlet, with the six-piece band playing in part of a house that is sinking into the ground, next to the gutted main section. Wilberth Gonzalez’s costumes are based in water and earth colors and textures, with unique headpieces for most characters; Ariel’s transformation is a highlight, as are Caliban’s ratty, chainlike vestment and Prospero’s goth steampunk dress. David Weiner’s lighting and Jessica Paz’s sound expertly incorporate the large cast, with as many as eighty-eight performers onstage at once.
Sone classic lines get cut and plot points get condensed across one hundred minutes, and the finale is anticlimactic, but the spirit of the show is intoxicating. It’s a joy to see established actors working with first-timers and regulars from the Brownsville Recreation Center, the Casita Maria Center for Arts & Education, the Center for Family Life, the Children’s Aid Society, DreamYard, Domestic Workers United, the Fortune Society, and the Military Resilience Foundation, including Brianna Cabrera, Patrick O’Hare, Vivian Jett Brown, and Edwin Rivera as Spirit Ancestor lead singers.
This Tempest bids a fond farewell to the Delacorte as we know it, as the sixty-one-year-old theater begins a two-year renovation after the show ends its one-week run September 3. As Antonio usually says, but not in this version, “What’s past is prologue.”
[Mark Rifkin is a Brooklyn-born, Manhattan-based writer and editor; you can follow him on Substack here.]
