O, wonder! / How many goodly creatures are there here! / How beauteous mankind is!
O brave new world, That has such people in’t!
Prospero has been exiled from his Dukedom in Milan for 12 years, but as the time has come for a final reckoning, he weaves a spell to draw his enemies to his enchanted island. Believed by many to be Shakespeare’s final play, the exuberant and poignant romance is a fitting grand finale to HVSF’s 34-year tenure at Boscobel. The transcendent story brings new meaning to the phrase “social distancing” and thrums with the deep human need for connection and community. Longtime HVSF Company Member Ryan Quinn returns to direct.
Tickets Now On Sale
Please Note: Guests will have to show proof of a recent negative COVID-19 test (within 72 hours of the performance) or proof of full vaccination. HVSF Staff will accept printed and digital documentation, including the Excelsior Pass. Face coverings will be required for all staff and attendees. See HVSF’s detailed safety guidelines for more information.
For distancing purposes, please check a price level and our system will place you in the best available seat based on your selected price. You will not be able to select specific seats when purchasing online.
Due to the nature of our system, and the seats necessary for distancing, any attempt to edit your order once it’s been placed in your cart will result in additional tickets being added. To make changes, please delete and restart your order.
Please be sure to review your performance dates and selections before finalizing your order below. Ready to book more dates? Back to Calendar.
Cast & Creative
Ensemble Caturah BrownCC
Miranda Kayla Coleman*
Ensemble Jonathan ContrerasCC
Sebastian Zachary Fine*
Ferdinand Tyler Fauntleroy*
Trinculo Ralph Adriel Johnson*
Gonzalo Claudia Logan*
Ensemble Marshall W. Mabry IVCC
Antonio Sean McNall*
Caliban Jason O’Connell*
Prospero Howard W. Overshown*
Stephano Kurt Rhoads*
Ensemble India SheaCC
Ariel Britney Simpson*
Alonso Nance Williamson*
By William Shakespeare
Directed by Ryan Quinn
Costume Designer Charlotte Palmer-Lane+
Lighting Designer Lucrecia Briceno+
Sound Designers Charles Coes+ and Nathan Roberts+
Choreographer Susannah Millonzi
Properties Designer Joshua Yocom+
Hair Design Nikiya Mathis
Hair Stylist & Braider Ayana Card/Kinky Rootz
Production Stage Manager Roxana Khan*
Stage Manager Janelle Caso*
Dramaturg Martine Green-Rogers
Casting Calleri, Jensen & Davis
*Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.
+Represented by United Scenic Artists, Local USA 829 of the IATSE.
**Member of the Stage Directors and Choreographers Society, a national theatrical labor union.
^Member of the Stage Directors and Choreographers Foundation Observership Program.
The etymology of “tempest” begins with the word time.
At its root, not only could The Tempest be titled The Storm, but also The Time.
Although the play begins with a conjured storm, its true magic is in its reckoning with time. Time is both finite and infinite. It’s the specific timing that brings a ship to crash on a shore, the amount of time a spirit must serve until they are free, or the number of years a father spends in isolation with his daughter. It is also history and legacy, in the fight to account for the stories of the past that determine the future each character believes they are owed.
As the tempest of the past year swirls around me now, I am ever aware of the accounting of time. My daughter is five years old now, but every breath seems to also weave her at 8 months and 18 years. If only I had the magic to freeze the beautiful precariousness of each moment. But the magic of life is that I can’t, time spirals on creating history, and the bittersweet reality is that, like Prospero, I am ultimately preparing her to find her own time. All I can do is try to focus on the intent over the account.
Prospero begins with a story to his daughter, telling Miranda “tis time I inform you farther.” That moment begins a race to refold the past into Miranda’s future, to control the story that has been stolen from him, and enact justice for the time that has been taken away.
It is a powerful magic to have the language to shape story. That’s why Caliban is adamant about “seizing his books.” They are not just spells but the power to center the story around yourself, the power to control the story of others, and the power to name and change the time.
The ability to wield this language is the storm raging through the characters of The Tempest. But in the eye of this storm, there is simply a father and a daughter, and the time it takes to prepare
her to leave. Will the account get in the way of the intent?
This story, like our current moment in history, is about re-entry into society, while also reckoning with time. As our own masks come off, revealing changes from the time apart, and as the tent comes down at Boscobel, leaving the festival’s stories folded into the August air, I am buoyed by a renewed intention in the time we spend in communion together, shaping the narrative of our “brave new world.”