Word: prosperoous
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Ginna Carter as Ariel delivers her lines with the expressive energy of a telephone operator. She wears an indeterminate grin on her face throughout the entire play; the grace of the surrounding spirits her outshines her own. There is none of the master-servant rapport between prospero and Ariel that the text blatantly demands, and this failing undermines the power of Ariel's eventual liberation by Prospero...
...portrayal of Sebastian as a woman is also interesting, but the text is not consistently altered to accomodate the modification in sex. In the first scene of Act V, Prospero refers to her as "brother" and "sir," when she has previously been addressed as "madame." This mistake underscores the insensitivity and carelessness with which Shakespeare's text is handled...
...Prospero's opening lines in the second scene of Act I, so crucial to the audience's understanding of the plot after the omission of the first scene, are delivered at a manic pace. Those unfamiliar with the text are left bewildered by the rest of the play's development. Bishop pathetically compensates for the plot's mangled exposition by having a spirit hold up a chart listing the "Good Guys" and "Bad Guys" of the play for our convenience...
...treatment of Shakespeare's text is here and elsewhere is ill- counseled: a spoof of Hamlet pointlessly substitutes for the masque of the goddesses in Act IV. Gravity characterizes moments that should be light (Prospero's epilogue); hesitation destroys the repartee (Ariel and Prospero's dialogues). The actors' delivered often indicate that they don't understand the meaning of their lines any more than...
...Woody Hill's interpretation of Prospero, for the example, is indifferent to the proscriptions of the text. Prospero is a man seeking justice through magic. But Hill's rendition of the Epilogue depicts Prospero as a childish and vengeful sorcerer unwilling to yield his powers...