The Story (Director's Notes following synopsis)

Part I

ACT I, SCENE I

The Tempest, the former Duke of Milan, Prospero controls the elements and causes his enemies, Alonso, Antonio, and Sebastian to be shipwrecked on the island

SCENE II, part A: Prospero explains to his daughter Miranda how they came to be isolated on the island for the past 12 years

SCENE II, part B: We meet the air spirit Ariel and are told her story

SCENE II, part C: We meet Caliban and are told his story

SCENE II, part D: We meet King AlonsoÕs son Ferdinand. Ferdinand and Miranda fall in love. Prospero tries reverse pyschology to get them even more interested in each other

ACT II, SCENE I

The shipwrecked noblemen wander the island hoping to find Ferdinand alive and well. In the hopes of gaining more power, the devious Antonio convinces Sebastian to try and kill King Alonso. The spirit Ariel foils their plans through the use of trickery and magic.

SCENE II

On another part of the island, Stephano (the butler), Trincula (the jester) and Caliban meet up, get drunk and decide to get rid of Prospero, take advatage of Miranda, and control the island.

~ INTERMISSION ~

Part 2

ACT II, SCENE III

Ferdinand is hard at work hauling logs. Miranda wants to help. Prospero is thrilled his plan to bring them closer is working.

ACT III, SCENE I

Stephano, Trincula, and Caliban are even more drunk, and having trouble planning ProperoÕs demise. Ariel plays tricks on them.

ACT IV, SCENE I

The KingÕs group is visited by Ariel and other spirits who promise food, but take it away as punishment for having treated Prospero badly 12 years ago.

SCENE II

Miranda and Ferdinand get married. Prospero interrupts the party to complete his plans for revenge against the nobles.

SCENE III

Prospero chases away Caliban, Trincula, and Stephano using magic clothing.

ACT V, SCENE I

Ariel counsels Prospero to forgive the Noblemen, he takes her advice, and decides to give up magic as well.

SCENE II

Prospero forgives the KingÕs group. He then reveals Ferdinand and Miranda and the King rejoices at finding his son well. Caliban, Trincula, and Stephano are forgiven and set free. Prospero frees Ariel and sums up the resolution: Mirand and Ferdinand will be legally wed, The ship will be fixed, and all will return to Milan,where Prospero will get his dukedom back.

Director's Notes for this production:

One of the most poignant tragedies we all share as human beings is our knowledge of lonliness and the certainty that here in this world we are alone. There are always people who are dear to us, and they come in and out of our lives as we grow and develop as people. But we all share that singular hollow spot that says we come into this world alone and we leave it alone. In THE TEMPEST we are illustrating the belief that, in fact, we are not alone. Each of the characters in our production have a physical ÒshadowÓ that shields, tricks, and plays with them representing their own inner child. Some people think of this phenomenon as guardian angels or subconsciousness. In the everyday world of our lives we all experience the evidence of ÒspiritÓ. For example: the college students who find themselves in their first year feeling isolated, or the faculty member who feels a facade must be maintained to protect vulnerability has at those times when they feel most alone, a spirit in themselves to draw on for strength, protection and humor. This physical symbolism parallels the storyline of ProperoÕs isolation on the island for twelve years wth only ÒspiritsÓ for companions.

The style of this production is ÒDel-Sign,Ó a combination of Francois DelsarteÕs mime techniques and American Sign Language. It is not interpreted theater, but rather a joyous romp into physically expressed theater. Open your mind to the richness of the movement and try not to focus on individual lines, signs, or words. YouÕll be surprised at how much you understand. We are taking advantage of the strength of live theater to provide a Òwide screenÓ rather than depending on the Òclose-upÓ that television has trained us for. The word communication comes from the Latin words ÒcomÓ and ÒumÓ literally meaning Òbecoming one with.Ó We are communicating using two planes of reality and two languages embodied in two actors who bond so closely in ideas and feelings that they Òbecome one.Ó

In this production with two actors playing the same role, I have often cast them as opposites: male/female, gay/straight, black/Spanish, white/Asian; and that allows them (and, therefore, us) to see that each individual harbors the whole of humanity within her/himself. In a world that supports situations like Bosnia and Crotia (to name a few of the many such situations) it is important to take a moment to recognize that spirit and body are one across cultural and community lines, emphasizing our commonalities as human beings.

ÒDel-SignÓ is a style that has been developing for the past six years with New YorkÕs Interborough Repertory Theater (IRT). In fact, it has become IRTÕs trademark. As IRTÕs Artistic Director, I am so excited by the talent and energy I discovered in this cast. I intend to take this production to 42nd StreetÕs Samuel Beckett Theater in the beginning of June, 2000. I am gratified to have the support of the RIT Provost, Dr. Stan McKenzie, Director of NTID, Dr. Robert Davila, Chair of the Department of Cultural and Creative Studies, Dr. Joe Bochner, and the Board of Directors at IRT to insure it will happen. I would also like to thank NTID Performing Arts faculty and staff for their efforts. The faculty, staff and students who served on crews, and on stage were professional in every aspect. We are still looking for additional support for this project. If you would like to become a ÒspiritÓ of support in bringing this production to New York, let us know.

ÒIndeed we are but shadows, we are not endowed with real and that all that seems most real about us is but the thinnest distance of a dream...Õtil the heart be touched. That touch creates us, then we begin to be.Ó Nathaniel Hawthorne