GARRISON, N.Y. — Prospero’s grievance has been gnawing at him a dozen years when finally he speaks of it to his teenage daughter, Miranda, explaining how they had been pressured from their noble life in Milan into island exile.
His personal treacherous brother snatched his dukedom away, propelled by “an evil nature” and a longing for energy that Prospero — bookish sorcerer, kindly father, distracted ruler — hadn’t suspected in him.
Does he sense his personal darkness, although? His personal lust for dominion? The best way Prospero spins his story, he is a superb man and man wronged. However in Ryan Quinn’s fitfully magical manufacturing of “The Tempest” at Hudson Valley Shakespeare Pageant, the cruelty that lurks in him is abundantly on show.
The long-lashed, gold-dusted spirit Ariel (Britney Simpson), pressured to do Prospero’s bidding, needs her freedom from him greater than something. The brutish Caliban (Jason O’Connell) desires the identical, and to be left in peace on the island that was his earlier than this enslaving invader arrived. Each of them name him grasp.
What’s curious is that Howard W. Overshown’s Prospero, performed with a recessiveness in line with a personality most at residence in his library, doesn’t dominate the play. He does, nonetheless, orchestrate all that occurs in it, beginning with the storm he whips as much as shipwreck his brother (Sean McNall), the queen of Naples (Nance Williamson) and others in a quest for retribution.
Comedy is the strongest swimsuit right here, led by O’Connell’s bedraggled, delicate Caliban, who appears like John Lithgow may if he had been a downtrodden brute with a sympathetic case to plead. The manufacturing’s rollicking excessive level comes along with his discovery by the delightfully put-upon Trinculo (Ralph Adriel Johnson), and their joint discovery by the drunken butler Stephano (Kurt Rhoads).
The younger lovers Miranda (Kayla Coleman) and Ferdinand (an awfully charming Tyler Fauntleroy) are candy to observe, whereas a lot of the magic of the island comes from the stunning sung enchantments of Ariel.
Plumped up with music (sound design and music composition are by Charles Coes and Nathan Roberts) and motion (choreography is by Susannah Millonzi), this manufacturing is the competition’s final in its longtime residence at Boscobel Home and Gardens, the place performances happen in an ethereal tent that frames the expansive garden and the hills past as background surroundings. (The corporate is transferring only a few miles away.)
When the present begins with clouds of fog billowing simply the place the garden slopes down, and the figures of the corporate rising by way of it and coming towards us, we all know that Quinn will use the panorama effectively.
There’s some flatness to the manufacturing, although. On the efficiency I noticed, the primary frisson of delight got here with Caliban’s preliminary scene: the laughter of an viewers that instantly finds itself within the palm of an actor’s hand. Standout performances — by Simpson and O’Connell, Fauntleroy and Johnson — are extra memorable than the storytelling as a complete.
However in Overshown’s finely understated interpretation, Prospero’s evolution is starkly clear. When he asks Ariel how the shipwrecked queen and nobles are, she means that they’re pitiful from his torments: that if he might see them, his “affections would turn into tender.”
“Dost thou assume so, spirit?” he asks.
“Mine would, sir, had been I human,” she says, with such gentleness and dignity that compassion appears the one correct course.
And we really feel him, very subtly, doing one thing that wounded, offended rulers seldom do. He begins to let go of his vengefulness.
By way of Sept. 4 at Hudson Valley Shakespeare Pageant, Garrison, N.Y.; hvshakespeare.org. Working time 2 hours quarter-hour.