The University Classic Players in

Directed by Jeffrey Stegall

Scene design by Jason Waggoner

Costume design by Jeffrey Stegall
Lighting design by Richard Streeter
Music by Kenon Renfrow
CAST OF CHARACTERS
On the Island
Prospero, the right Duke of Milan. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Ron Pyle
Miranda, his daughter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Emily Arcuri
Ariel, an airy spirit. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . David Schwingle
Caliban, a savage and deformed slave. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Paul Radford
Island Spirits. . . . . . . . . . . . . . . . . . . . . Ben Ascher, Clinton Holden, Andrew Huish,
Mattaniah Merrill, Timothy Miles, Zachary Moore, Michael Schell,
Layton Talbert, Andrew Townsend, Alex Warren

From the Ship

Alonsa, Queen of Naples. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Rebekah Rudie
Ferdinand, her son . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Justin Snyder
Antonio, Prospero’s brother, usurping Duke of Milan . . . . . . . . . . . . . . . . . . . David Bean
Sebastian, brother to Alonsa. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Nathan Netz
Gonzalo, an honest, old counselor. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Steve Skaggs
Trinculo, a jester. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Philip Eoute
Stephano, a drunken butler. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Lonnie Polson
Master of the Ship. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Layton Talbert
Boatswain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Ben Ascher
Sailors. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Andrew Huish, Timothy Miles,
Zachary Moore, Michael Schell, Andrew Townsend

PRODUCTION Staff
Producer. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Darren Lawson
Assistant Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Heather Brown
Dramaturg . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Janie McCauley
Stage Movement Coach. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Rachel Fisher
Promotional Illustration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Christopher Koelle
Production Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Rodney McCarty
Assistant to the Production Manager . . . . . . . . . . . . . . . . . . . . . . . . . Sandy Jaworski
Stage Manager. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Tommy Lamper
Production Assistants . . . . . . . . . . . . . . Dale Burden, Micha Moyer, Randy Snively
Technical Engineer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Gayland Slick
Prop Master . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Dave Vierow
Costume/Makeup/Hair Manager. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Dan Sandy
Costume Construction. . . . . . . . . . . . . . . Pam Adams, Barb Filipsic, Cynthia Long
Joyce Parsons, Valli Rassi, Becky Sandy, Kimberly Schmidt
Wig Master . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Alicia Carr
Assistant Wig Master . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Elizabeth Sowers
Sound Designer. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Bob Johansen
Front-of-House Sound Engineers. . . . . . . . . . . Jonathan Baker, Mark Cronemeyer
Script Clerk. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Janie Mayer

The role of Miranda is being played by Emily Arcuri in partial fulfillment

of a bachelor of arts degree in performance studies.

Magic, Monsters and Ministers of Fate

The Tempest is the last complete play attributed solely to Shakespeare. By almost
anyone’s estimate, the playwright’s body of dramatic works constitutes the
most compelling secular writing in the English language. Shakespeare’s plays
have also been translated into all the world’s major languages and performed
in theaters worldwide.
Premiered on November 1, 1611, by the King’s Men at court, The Tempest
enjoyed a second royal performance in 1613 for the celebration of the marriage
of two sixteen-year-olds—King James’ daughter, Princess Elizabeth, to Prince
Frederick of Germany. During the 400 years of the play’s stage history, it has
been subjected to a myriad of interpretations and adaptations.
The deposed duke of Milan, Prospero, is the play’s protagonist. His role in the
political and personal spheres is the major theme of the play. He is a white
magician, one who exercises a beneficent art that draws on the good spirits and
magical properties of the island on which he has lived as an exile for twelve
years. Using books and a staff, he commands the forces of nature. Since white
magic involves no spirits or devils, it is not necromancy, nor does it jeopardize
the practitioner’s soul. Prospero uses his magic to bring his enemies to his own
shores, where he forestalls them while he carries out a plan to set right the
wrongs they committed against him.
In Renaissance literature the magician and the writer are often associated
because they both create, or make something out of nothing. Thus Prospero
can be regarded as a figure for Shakespeare himself, and the play, as the artist’s
autobiography. The main basis for such a reading is that in The Tempest the
magician completes his crowning achievement and then wearily renounces his
art. Just so, The Tempest may be seen as the culmination of Shakespeare’s art,
penned just before his retirement to Stratford.
Shakespeare’s epilogue becomes especially poignant in this view of the play, for
in it Prospero takes on the role of an actor who requests applause from the
audience at the end of his performance. He then turns to serious thoughts of
prayer, death and freedom.
Prospero’s servants. Ariel and Caliban, have been traditionally regarded as
symbols of Air and Earth, the lightest and heaviest elements. Ariel is able to
transcend all the elements. He can fly, swim, dive into the fire or ride the
clouds. Caliban is earth-bound and dull. Ariel and Caliban are also sometimes
seen as two opposing forces within Prospero or within all human beings. In
this reading of the play, Ariel represents the mind or creative imagination, and
Caliban, the flesh or man’s animal impulses.
Like the force of imagination itself, Ariel glides through the air, often unseen.
His singing is spellbinding. No task is too difficult for him. Yet he must
be explicitly motivated by his master and at times even threatened with
punishment.
Caliban is a brute, described in the cast of characters as a “savage and
deformed slave.” His name is often taken as an anagram for cannibal, which
may have simply meant a native of the Caribbean to Shakespeare’s audience.
Yet Caliban is in touch with nature’s bounty on the island and at times utters
beautiful lines of poetry. The corruption of civilized men like Antonio and
Sebastian, in fact, is in some respects worse than the savage nature of Caliban.
The Tempest is a comedy, and in a play of this sort, even serious threats to
society’s welfare are eventually overcome. With his magic and Ariel’s services,
Prospero regains his dukedom in the play’s resolution. In a sense he does so
through another type of magic—the magic of romantic love, which Shakespeare
depicts as “real” enchantment. The union of the Prince of Naples, Ferdinand,
and Prospero’s daughter, Miranda, signals that Naples and Milan are
reconciled once and for all. Thus Prospero and his descendants will gain much
more than they have lost, for Miranda will one day be a queen. By extolling love
and forgiveness as transcendent virtues in a world so evil that brother would
kill brother, Shakespeare reveals profound insight into both human nature
and the universe at large.
Doubtless Shakespeare’s fantasy will continue to evoke a multitude of differing
interpretations as it is enacted again and again on the stage. It is a rich work
that perhaps should be viewed in terms of multiple meanings rather than a
single meaning.
Above all, The Tempest should be experienced and enjoyed. Shakespeare’s stage
directions call for many elaborate and surprising stage effects that contribute
to the play’s timeless appeal as a tale of enchantment and wonder for audiences
everywhere.
Janie McCauley
 RODEHEAVER AUDITORIUM
November 17, 18 & 19, 2010, 8 p.m.
November 20, 2010, 2 p.m.

Chimes will sound and lobby lights will flash three minutes before the end of intermission.
After the houselights are dimmed following intermission, no one will be readmitted to his seat.

Cameras and recording equipment are not permitted in the auditorium during any performance.
We request that signal watches and personal communication devices be turned off during the program.

Tickets for this production have been sponsored by

PP 003 (8936) 10/10