The Tempest
at H-B Woodlawn

Reviewed on May 2, 2014

Jack Posey
McLean High School
Submitted for publication to Washington Post - Alex/Arl

Three nymphs ambulate on light footing and serenade the audience, draping themselves in a gossamer silky sheet, as a piano melody ebbs and flows beneath them. While such a euphonious revelry would be typical for a musical, what is so surprising about the cascading music is that the show isn't a musical at all, but rather a William Shakespeare play! The creative minds at H-B Woodlawn High School used Shakespeare's original text as a canvas upon which to express themselves using creative editing and adaptation of the script and a whimsical student-composed score in their unique, innovative production of The Tempest.

The Tempest first opened in 1611 with William Shakespeare himself playing the central role of Prospero. The story of the Tempest begins when Prospero, the rightful Duke of Milan, and his daughter, Miranda, are banished to a mysterious island by Prospero's usurping brother, Antonio. There Prospero acquires the gift of magic, and becomes the master of Ariel, a nymph, and Caliban, a deformed creature. Twelve years later, Prospero senses that Antonio is at sea, and conjures an enormous tempest to force his boat to shore. From there, Antonio and his companions are split into separate groups, and struggles for power and love ensue.

For this black-box production, student director Zak Gordon adapted the original text (which ordinarily takes four hours to perform) into a svelte, well-paced two hour cut by omitting superfluous exposition and perfunctory scenes of plot progression, condensing them into small scenes and effective semi-pantomimed vignettes. Gordon cut the Bard's work with precision, giving the show a perfect length while still displaying a coherent plot and retaining the most important and exciting moments of the play. Gordon's adaptation was made even more unique with musical compositions performed live by student Nate Welsh. The enchanting piano lines were integrated seamlessly into many scenes, and an outstanding scene of the night was the performance of an original song of Welsh's by three nymphs.

As Prospero, Charlie Mai understood the meaning and objective behind the difficult Shakespearean language, and displayed a clear progression of age throughout the show. His daughter Miranda (Margaret Trombly) and her courter Ferdinand (Johnny Bowman) had a youthful and organic chemistry, making them endearing to watch. Sophie Nicholakos brought the nymph Ariel to life with her electric energy, light, dancer-like physicality, and dulcet voice. Santiago Mallan, playing the creature Caliban, committed to his hunched physicality and delivered his lines with great clarity and diction.

One standout performance was given by Brian McTyre as Sebastian, a conspirator of Antonio. His comic timing and finesse procured many laughs from the audience. The ensemble of three mirthful nymphs (Imogen Thomas, Arianna Hume, and Erin Cleays) maintained consistent fairy-like physicalities and were fully committed to character, even when the focus of the scene was not on them. Imogen Thomas also played Sycorax, the monstrous mother of Caliban, showing her wide range as an actress.

The simple set consisted of layered, staggered panels covered in multi-colored cloths, which lent themselves to playful sequences of hide and seek. Clean lighting and sound cues were executed to give the effect of lightning and thunder. The makeup matched the magical tone of the show, with glittering eyeliner and other decorative eye makeup present on many of the performers.

H-B Woodlawn utilized the creativity of their students to produce a one-of-a-kind production of The Tempest.

Emma Paquette
McLean High School
Submitted for publication to Washington Post - Alex/Arl

Nostalgic, haunting music emulates tremulously from the piano keys, sifting through the taut atmosphere as lights fade down. A father and daughter are reading a familiar bedtime story chronicling their past road to their present state. The girl sleeps as those indescribable notes continue to float through the air. In turn, Prospero stands, bringing his rapt audience along with him into a world of flitting spirits and writhing monsters- a fairytale brought to life. HB Woodlawn production of The Tempest was utterly unforgettable with incredible conceptual design and deft execution.

The Tempest is believed to be Shakespeare's last play of true note. It has also been classified as one of his so-called "problem plays" that is unable to be classified under a convenient genre; It contains elements of comedy, tragedy, history, and fantasy alike. In the scripts the disgraced Prospero washes up with his daughter on a mystical island of which he suddenly finds himself king. Yet, unsatisfied, when a chance comes to take revenge on those who stripped him from his dukedom, he has no qualms, bringing this production of The Tempest to its opening scenes.

Student director Zak Gordon displayed remarkable creativity in his interpretation and subsequent adaptation of the show. The plot was cut to be fast-paced and action-heavy: for example, the long and somewhat tedious first act was replaced with an engaging, nearly-silent pantomime to convey the exposition. However, the indisputable highlight of this production was the composition written by the brilliantly gifted Nate Welsh. His score drove the play at a fever-pitch, simultaneously informing, entertaining, and moving the audience in tandem with his superb concentration and cooperation with the actors.

Charlie Mai personified the powerful Prospero with confidence and poise, demonstrating a clear articulation and understanding of the character's inner turmoil. Aiding him in his complicated scheme was the air-headed and light-hearted Ariel (Sophie Nicholakos). Her spirited demeanor and graceful movements coupled with her charming vocals to synthesize the perfect comedic foil to the dour Mai. Young lovers Miranda (Margaret Trombly) and Ferdinand (Johnny Bowman) shared a deep and tender chemistry with one another, manifesting itself through their sweet conversations and tentative moves toward romance. Finally, Santiago Mallan's performance as Caliban, the tortured former prince of the isle, was truly incredible; animalistic physicality and wounded shouts were tempered by his unfortunate interactions with two shipwrecked drunkards, combining to form a multifaceted, entertaining portrait of the fish man.

The intimate space of a black box theatre did not detract from any of the majesty of imaginative Shakespeare. Moveable fabric platforms allowed for great versatility in the change of location through mostly lighting shifts. The lighting was, in fact, perfectly timed for the greatest effect, switching on and off with a snap of Prospero's fingers and flickering believably during the many titular storms that wrack the island. The playful nymphs also made use of ribbons and petals during their fascinating movement numbers inserted within the text. These props enhanced the dances significantly and related to a general feeling of magical realism that infused all tech elements.

Shakespeare's plays have been done time and time again by theatre companies ranging from the best of the best to the worst of the worst. Yet, a sharp mind never fails to conjure a new style that makes the centuries-old works seem fresh once more. HB Woodlawn certainly succeeded in their outstanding performance of The Tempest.

Abigail Giuseppe
Bishop Ireton High School
Submitted for publication to ShowBizRadio.net

Gentle music fills the dark and intimate room. A man appears and snaps his fingers, making everything in the room metamorphose into the romantic and magical world of H-B Woodlwan's performance of William Shakespeare's The Tempest.

Know by many critics to be the last play that Williams Shakespeare wrote alone, The Tempest has been classified as a romance, since it contains elements from Shakespearean comedies, tragedies, dramas, and historical accounts. Historians have even speculated that the shipwreck aspect of the story could be based off of an actual event in the 17th century. Although it didn't receive much praise during its original runs, The Tempest has gained popularity and affluence over the years, making it one of Shakespeare's finest works.

The story itself revolves around Prospero, the duke of Milan, who is treacherously exiled, along with his daughter Miranda, to a magical island ruled by The Foul Witch Sycorax. There he frees Ariel, an air nymph Sycorax had trapped, kills the witch, and takes her monster son, Caliban, prisoner. As ruler of the island, all seems as it should be until a ship carrying all the men who betrayed Prospero sails near the island, prompting Prospero to order Ariel to create a tempest in order to wreck their ship. All madness ensues as Miranda finds the potential for love, drunken butlers plot with Caliban to overthrow the island, and Prospero's magic itself is threatened.

Leading the show was Charlie Mai as Prosepero. His commanding voice and convincing struggle throughout the plot made him a pleasure to watch and his tender moments with his daughter and Ariel made him a sense of calm and sentimentality in some of the show's more jocular moments, Right by his side throughout the show was Sophie Nicholakos who kept the audience thoroughly entertained with her sprightly movements and spunky attitude.

Additionally, Santiago Mallan as Caliban provided an intriguing and impressive performance. His anguish as an enslaved and misunderstood outcast was perfectly contrasted by his comedic timing and his physicality was relentlessly impressive and consistent. He truly embodied the creature that Caliban is and was a ceaselessly dynamic performer. Johnny Bowman as Ferdinand also gave a dedicated and witty performance.

As a whole, the small cast had an amazing dynamic with each other. Their movements were synchronized perfectly and every gesture was effective and well timed, from feats of magical splendor to spirited dances by the nymphs. Each player was easy to understand, making it simple to follow.

The technical elements of the show were carried out with precision and skill. Quick lighting cues were always on time and made the magic of the show truly come to life. Sound was also well executed, making the island come alive with sounds of rain and thunderstorms.

The two most profound elements of the show however were the addition of a musical score and the editing done by student director, Zak Gordon. Nate Welsh created a composition that added nicely to the plot without detracting from the events transpiring onstage and his work with the nymphs was nothing short of inspiring. Director Zak Gordon also displayed superb ingenuity by taking a lengthy work and making it accessible and easy to follow. He stands as an exemplary example of how student directing should be done.

With a dedicated and cohesive cast of players as well as impressive creative elements and energy, H-B Woodlawn's production was one that left the audience's imaginative spirit yearning for more.

Mary Long
Langley High School
Submitted for publication to Patch.com - ARL/MC/Mont/DC

Magic, mayhem, and music, oh my! Just one of those things may sound entertaining enough, but HB Woodlawn's student-directed production of Shakespeare's "The Tempest" mixed all three to add an appealingly upbeat spin on the four-hundred-year-old tale.

The original book for "The Tempest" was written in 1610 by William Shakespeare. Rumored to be the playwright's last solo piece, the script picked up popularity after Shakespeare's death, in the post-Restoration period. While most of Shakespeare's other works fit neatly into the genre of either tragedy, romance, or comedy, "The Tempest" was a clear blend of all three from the very beginning. But this updated version, with a cut script courtesy of director Zak Gordon and added score by Jake Welsh, threw in an enjoyable emphasis on frivolity and free-spiritedness that might otherwise by overlooked.

The story begins when Prospero, Duke of Milan, is usurped by his brother, Antonio, and friend, Alonso. With his crown gone, Prospero and his young daughter, Miranda, are secretly shipped away to an island somewhere in the Mediterranean. Before they leave, though, Alonso's servant, Gonzola, hands some magical powers off to Prospero so that he can survive in the isle. The play picks up twelve years later, when Prospero has his nymph servant, Ariel, whip up a tempest of epic proportions. The storm causes a ship from Milan to crash into the island, and, fittingly enough, a cast of characters made up of Prospero's former friends and family are left scattered among the island. Magical mischief ensues as Ariel mystically taunts the survivors and Prospero uses his powers for vengeance.

The script included two added scenes, which flawlessly integrated Shakespeare's own words from various outside pieces. These scenes, however, were set to music and lyrics, which also flowed smoothly together and gave new life to the otherwise aged story. Welsh's score was continuous, accompanying all the scenes, and matched the emotion of whatever was occurring onstage. Overall, the original piano music contributed to the high energy of the production.

All actors displayed a phenomenal understanding of the antiquated, Shakespearean language and spoke with impressive direction and emotion.

As Prospero, Charlie Mai made dynamic character choices and demonstrated notable development throughout the show. Sophie Nichalakos's portrayal of Ariel, the forest nymph, was fittingly free and flouncy. Nichalakos captured the audience's eye as she leapt from one place to the next, constantly in character, and set the pace for this lighthearted interpretation. Johnny Bowman made a charming and loveable Ferdinand, Alonso's son and Miranda's love interest. His recurring tap routine was comedic and endearing; his overall character interpretation both impressively talented and enjoyably simple.
Makeup served as a highlighter and accent to the light, free-spirited translation of this adaptation. While some unconventional use was questionable, overall, the makeup choices added to, rather than distracted from, the production as a whole.

Light cues were notably prompt and sound—both the effects and the volume of the onstage piano—never overruled any onstage action.

An unmoving, stagnant set worked well with the small space at hand. Actors expertly navigated the colorful rectangles that lay as the forest backdrop and utilized built-in stage fixtures to their advantages.

HB Woodlawn's production of "The Tempest" was everything that a night at the theater should be—fun, stirring, and thought-provoking.