Word: prosperoous
(lookup in dictionary)
(lookup stats)
Dates: all
Sort By: most recent first
(reverse)
...Tempest” by Jean Sibelius in 1925. Under the direction of Julia S. Carey ’09, the chamber orchestra near the back of the stage produces a warm, friendly sound. Early in the play, the island ruler (and rightful Duke of Milan) Prospero (Jason M. Lazarcheck ’08) recounts the tale of his exile to his daughter Miranda (Lauren L. Creedon ’11). As he speaks, six dancers take the stage to illustrate his story...
...This production’s other conceptual flourish is its treatment of Caliban, a grotesque, half-formed savage who has particularly fascinated directors since the rise of postcolonial theory in the 1950s. Because Caliban is enslaved by the exiled European duke Prospero, he is sometimes portrayed as a heroic rebel, or at least as a more “noble savage...
...This problem goes away near the play’s end, as Prospero finally brings the island’s wandering inhabitants together. Once everyone is onstage, however, Salas seems to be in a rush to get everyone off, and some really wonderful scenes don’t get the attention they deserve...
...view it as the next step in my development,” she says. “Directing is a whole new dimension. It’s fulfilling, the whole process.” Jason M. Lazarcheck ’08 plays the lead role of the sorcerer Prospero. A self-professed Shakespeare fan, he looks forward to presenting “The Tempest” to the Harvard community. “I’ve never been involved in anything quite like this,” he says. “Having separate entities of music and dance...
Eaton's meticulous planning extends even to the opera's rhythmic structure, with each character assigned his or her own basic tempo. Act II, for example, closes with a stirring, cacophonous ensemble of clashing rhythms and timbres as all the major characters sing simultaneously and Prospero exults, "My high charms work!/ and these, mine enemies, are all knit up/ in their distractions. They are in my power." What Eaton has done is not merely to set Porter's concise, three-act libretto, but to retell it in musical terms, creating a cognate of Shakespeare's play. It is a formidable...