Test - Tempest

The Tempest
MUSIC CUE 1: OVERTURE
[1.1] A tempestuous noise of thunder and lightning is heard.
Enter a Shipmaster and a Boatswain.
MASTER: [from the poop-deck] Bos’n!
BOATSWAIN: [in the waist] Here, master: what cheer?
MASTER: Good; speak to th’ mariners: fall to’t — barely — or we run ourselves
aground. Bestir, bestir.
Master’s whistle heard.
BOATSWAIN: Heigh my hearts! cheerly, cheerly my hearts … yare, are … take in the topsail
… tend to th’ master’s whistle… [to the gale] Blow till thou burst thy wind —
if room enough!
ALONSO: Good bos’n, have care, Where’s the master?
Play the men.
BOATSWAIN: I pray now, keep below.
ANTONIO: Where is the master, bos’n?
BOATSWAIN: Do you not hear him? You mar our labour. Keep your cabins! You do assist
the storm.
GONZALO: Nay, good, be patient.
BOATSWAIN: When the sea is… Hence! What cares these roarers for the name of king? To
cabin…silence…trouble us not!
GONZALO: Good, yet remember whom thou hast aboard.
BOATSWAIN: None that I more love than myself… You are a Councillor — if you command
these elements to silence, and work the peace of the present, we will not
hand a rope more. Use your authority… If you cannot, give thanks you have
lived so long, and make yourself ready in your cabin for the mischance of the
hour, if it so hap…
Cheerly, good hearts… Out of our way, I say. [he runs forward]
GONZALO: [his speech interrupted as the ship pitches]. I have great comfort from this
fellow…Methinks he hath no drowning mark upon him, his complexion is
perfect gallows… Stand fast, good Fate, to his hanging, make the rope of his
destiny our cable, for our own doth little advantage… If he be not born to be
hanged, our case is miserable.
BOATSWAIN: Down with the topmast…yare, lower, lower! bring her to try with maincourse…
[‘A cry’ is heard below]. A plague upon this howling…they are
louder than the weather, or our office… Yet again? What do you here? Shall
we give o’er and drown? Have you a mind to sink?
SEBASTIAN: A pox o’ your throat, you bawling, blasphemous, incharitable dog!
BOATSWAIN: Work you, then.
ANTONIO: Hang, cur; hang, you whoreson, insolent noise-maker! we are less afraid to
be drowned than thou art.
GONZALO: I’ll warrant him for drowning, though the ship were no stronger than a
nutshell, and as leaky as an unstaunched wench.
BOATSWAIN: [shouting] Lay her a-hold, a-hold! Set her two courses. Off to sea again! lay
her off!
The Tempest
The Overture is some of the most extended music throughout the whole play, setting the scene for
what is to come. It’s fast-paced and energetic, and Woolfenden creates the idea of a storm with
quick falling scales that fall again and again like waves. The whole cue is structured around two
different ideas: the falling scales, and a march-like section, where Woolfenden uses rhythms and
cadences that allude to the Elizabethan music that Shakespeare might have been familiar with.
The Overture concludes on a dissonant trill, immediately throwing the audience into the chaos of
the opening storm scene. This scene was full of noise, with an extensive sound design. In his music
cue book, Woolfenden listed the sounds as:
‘Rain, thunder, lightning, creak, crack, flaps, rigging, whistle, bells, explosions, fireballs,
vocal noise work’.
On top of this there was the sound of wind playing throughout the opening scene, and whistles
being sounded to evoke the panic on board the sinking ship as dry ice swirled around the stage. It
must have made quite a racket — so much so that many reviewers complained that they couldn’t
hear what the actors were saying at all! The Leicester Graphic review said that ‘The Tempest raged
and roared … actors were shouting themselves hoarse whilst out front all we got was the sound and
fury of the storm. … After what appeared to be some hours, it quieted down a lot’. Norah Lewis
writing for the Birmingham Mail also complained that ‘it was impossible to hear what the stricken
voyagers were saying.’
It wasn’t just the sound levels that were the problem — the opening night in general was plagued
with misfortune. There was a technological problem which meant that the planned lighting
extravaganza never materialised. The backstage was thrown into complete darkness, causing
Sheridan Fitzgerald (Miranda) to run into some sharp object and cut her face. She had to perform
the first scene with Michael Hordern (Prospero) wiping blood off her face!
A particularly evocative review from The Times gives us some idea what the opening scene might
have looked like:
‘A glowing orange sun fades out and the curtain changes to a transparent silk, riven with
flashes of lightning, and the blanched faces of the ship’s company picked out in the
darkness.’
The ship strikes. Fireballs flame along the rigging and from beak to stern. ‘Enter
mariners wet.’
BOATSWAIN: All lost! to prayers, to prayers! all lost!
BOATSWAIN: [slowly pulling out a bottle] What, must our mouths be cold?
GONZALO: The king and prince at prayers. Let’s assist them,
For our case is as theirs.
SEBASTIAN: I am out of patience.
ANTONIO: We are merely cheated of our lives by drunkards—
This wide-chopped rascal — would thou mightst lie drowning
The washing of ten tides!
GONZALO: He’ll be hanged yet,
Though every drop of water swear against it.
And gape at wid’st to glut him.
‘A confused noise’ Mercy on us!
We split, we split!
MASTER: Farewell, my wife and children!—
ALONSO: Farewell, brother!
GONZALO: Farewell life! Farewell living! We split, we split, we split!
ANTONIO: Let’s all sink wi’ th’ king.
SEBASTIAN: Let’s take leave of him. [they go below]
GONZALO: Now would I give a thousand furlongs of sea — for an acre of barren
ground … long hearth, brown furze, any thing … The wills above be done, but
I would fain die a dry death!
A crowd bursts upon deck, making for the ship’s side, in the glare of fireballs. Of a
sudden these are quenched. A loud cry of many voices.
MUSIC CUE 2
[1.2] The Island. A green plat of undercliff, approached by a path descending through a grove of
lime-trees alongside the upper cliff, in the face of which is the entrance of a tall cave, curtained.
MIRANDA, gazing out to sea: PROSPERO, in wizard’s mantle and carrying a staff, comes from
the cave.
MIRANDA: [turning] If by your art — my dearest father — you have
Put the wild waters in this roar — allay them:
The sky, it seems, would pour down stinking pitch,
But that the sea, mounting to th’ welkin’s cheek,
Dashes the fire out … O! I have suffered
With those that I saw suffer: A brave vessel,
(Who had no doubt some noble creature in her!_
Dashed all to pieces. O the cry did knock
Against my very heart … poor souls, they perished. …
Had I been any god of power, I would
Have sunk the sea within the earth, or e’er
It should the good ship so have swallowed, and
The fraughting should within her.
PROSPERO: Be collected,
No more amazement: Tell your piteous heart
There’s no harm done.
MIRANDA: O woe the day!
PROSPERO: No harm:
I have done nothing, but in care of thee
(Of thee, my dear one; thee, my daughter) who
Art ignorant of what thou art … nought knowing
Of whence I am … nor that I am more better
The ship strikes. Fireballs flame along the rigging and from beak to stern. ‘Enter
The second music cue begins just after Gonzalo says ‘I would fain die a dry death!’ It’s a short,
dissonant cue that musically mirrors the onstage action; as the ship falls apart so does the music,
breaking down from the confident, clear music of the Overture. Throughout this there would also
have been the sound of voices, and the ship breaking on the rocks.
Prospero began this scene holding a staff and a book, sitting on a rock with Miranda at his feet. The
rock seat proved very unpopular with the reviewers. Apparently it had a bit of a squeak. Gordon
Parsons writing for the Morning Star complained that Michael Hordern (Prospero) had to compete
‘uncomfortably with persistent polystyrene creaks’ — an unintended addition to the sound of the
play! Unintended, accidental sounds like this crop up all over the place in the theatre, affecting how
the audience experiences the production. For this reviewer, the squeaky rock undermined
Prospero’s authority, and gave an unexpectedly comic tinge to the ‘isle of noises’.
Prospero and Miranda are depicted as being quite close in this first scene, at least as far as body
language is concerned. The prompt book notes that Prospero hugs Miranda when he says ‘I have
done nothing, but in care of thee’, and again when he instructs her to sit down so he can tell her his
story. She also removes his cloak where Shakespeare’s performance direction is that Prospero
remove his own cloak. When she sits to listen to him, she sits at his rock.
Although the reviews of this production were in general mixed, the one thing reviewers were almost
unanimous about was the quality of Michael Hordern’s performance as Prospero. They give an
impression of the way he interpreted the role. Irving Wardle for The Times called it ‘by far the
kindest performance of this role I have seen.’ Multiple critics attest to him having played the role as
a kindly, benevolent father, rather than as a wrathful, vengeful sorcerer. The Evening Standard
described him as ‘less remote and arrogant than most. … a world-weary but practical fellow who
takes for granted his supernatural powers.’
Than Prospero, master of a full poor cell,
And thy no greater father.
MIRANDA: [her eyes on the sea again] More to know
Did ever meddle with my thoughts.
PROSPERO: ’Tis time
I should inform thee farther: Lend thy hand
And pluck my magic garment from me… So,
[he lays aside his mantle + book]
Lie there my art: Wipe thou thine eyes, have comfort,
The direful spectacle of the wreck, which touched
The very virtue of compassion in thee…
I have with such provision in mine art
So safely ordered, that there is no soil,
No, not so much perdition as an hair,
Betid to any creature in the vessel
Which thou heard’st cry, which thou saw’st sink:
Sit down,
For thou must now know farther.
MIRANDA: You have often
Begun to tell me what I am, but stopped,
And left me to a bootless inquisition,
Concluding, ‘Stay: not yet.’
PROSPERO: The hour’s now come,
The very minute bids thee ope thine ear,
Obey, and be attentive…
[he sits on a bench of rock, Miranda beside him]
Canst thou remember
A time before we came unto this cell?
I do not think thou canst, for then thou wast not
Out three years old.
MIRANDA: Certainly sir, I can.
PROSPERO: By what? by any other house, or person?
Of any thing the image, tell me, that
Hath kept with thy remembrance.
MIRANDA: ’Tis far off…
And rather like a dream, than an assurance
That my remembrance warrants… Had I not
Four — or five — women once, that tended me?
PROSPERO: Thou hadst; and more, Miranda: But how is it,
That this lives in thy mind? What seest thou else
In the dark backward and abysm of time?
If thou remembrest aught ere thou cam’s here,
How thou cam’st here thou mayst.
MIRANDA: But that I do not.
PROSPERO: Twelve years since — Miranda — twelve years since,
Thy father was the Duke of Milan and
A prince of power…
MIRANDA: Sir, are not you my father?
PROSPERO: Thy mother was a piece of virtue, and
She said thou wast my daughter; and thy father
Was Duke of Milan, and his only heir —
A princess; no worse issued.
MIRANDA: O the heavens,
What foul play had we, that we came from thence?
Or blesséd was’t we did?
Michael Horden as Prospero © Donald Cooper
PROSPERO: Both, both, my girl…
By foul play — as thou sayst — were we heaved thence,
But blessedly holp hither.
MIRANDA: O my heart bleeds
To think o' th' teen that I have turned you to,
Which is from my remembrance. Please you, farther…
PROSPERO: My brother, and thy uncle, called Antonio…
I pray thee mark me, that a brother should
Be so perfidious … he, whom next myself
Of all the world I loved, and to him put
The manage of my state, as at that time
Through all the signories it was the first,
And Prospero, the prime duke, being so reputed
In dignity — and for the liberal arts,
Without a parallel; those being all my study,
The government I cast upon my brother,
And to my state grew stranger, being transported
And rapt in secret studies. Thy false uncle —
Dost thou attend me?
MIRANDA: [recalling her eyes from the sea] Sir, most heedfully.
PROSPERO: Being once perfected how to grant suits,
How to deny them: who t’advance, and who
To trash for over-topping; new created
The creatures that were mine, I say, or changed ‘em,
Or else new formed ‘em; having both the key
Of officer and office, set all hearts i' th' state
To what tune pleased his ear, that now he was
The ivy which had hid my princely trunk,
And sucked my verdure out on’t: Thou attend’t not!
MIRANDA: [guiltily] O good sir, I do.
PROSPERO: I pray thee mark me…
I thus neglecting worldly ends, all dedicated
To closeness, and the bettering of my mind
With that which, but by being so retired,
O’er-prized all popular rate, in my false brother
Awaked an evil nature; and my trust,
Like a good parent, did beget of him
A falsehood in its contrary, as great
As my trust was, which had indeed no limit,
A confidence sans bound. … He, being thus lorded,
Not only with what my revénue yielded,
But what my power might else exact. … like one,
Who having minted truth by telling of it,
Made such a sinner of his memory,
To credit his own lie, he did believe
He was indeed the duke, out o' th' substitution
And executing th’ outward face of royalty
With all prerogative: Hence his ambition growing…
Dost thou hear?
MIRANDA: Your tale, sir, would cure deafness.
PROSPERO: To have no screen between this part he played
And him he played it for, he needs will be
Absolute Milan — me (poor man) my library
Was dukedom large enough: of temporal royalties
He thinks me now incapable. … confederates
(So dry he was for sway) wi’ th’ King of Naples
To give him annual tribute, do him homage,

Subject his ‘coronet’ to his ‘crown,’ and bend
The dukedom yet unbowed (alas, poor Milan!)
To most ignoble stooping.
MIRANDA: O the heavens!
PROSPERO: Mark his condition, and th’ event, then tell me,
If this might be a brother.
MIRANDA: I should sin
To think but nobly of my grandmother,
Good wombs have borne bad sons.
PROSPERO: Now the condition…
This King of Naples, being an enemy
To me inveterate, hearkens my brother’s suit,
Which was, that he in lieu o' th' premises
Of homage, and I know not how much tribute,
Should presently extirpate me and mine
Out of the dukedom, and confer fair Milan,
With all the honours, on my brother: Whereon,
A treacherous army levied, one midnight,
Fated to th’ purpose, did Antonion open
The gates of Milan, and i' th' dead of darkness
The ministers for th’ purpose hurried thence
Me — and thy crying self.
MIRANDA: [her tears falling again] Alack, for pity:
I not remembring how I cried out then
Will cry it o’er again: it is a hint
That wrings mine eyes to’t.
PROSPERO: Hear a little further
And then I’ll bring thee to the present business
Which now’s upon’s: without the which, this story
Were most impertinent.
MIRANDA: Wherefore did they not
That hour destroy us?
PROSPERO: Well demanded, wench:
My tale provokes that question. Dear, they durst not,
So dear the love my people bore me: nor set
A mark so bloody on the business; but
With colours fairer painted their foul ends… [he falters and proceeds swiftly
In few, they hurried us aboard a bark,
Bore us some leagues to sea; where they prepared
A rotten carcass of a butt, not rigged,
Nor tackle, sail, nor mast, the very rats
Instinctively have quit it: There they hoist us
To cry to th’ sea, that roared to us; to sigh
To th’ winds, whose pity sighing back again
Did us but loving wrong.
MIRANDA: Alack, what trouble
Was I then to you!
PROSPERO: O, a cherubin
Thou wast that did preserve me; thou didst smile,
Infuséd with a fortitude from heaven —
When I have decked the sea with drops full salt,
Under my burden groaned — which raised in me
An undergoing stomach, to bear up
Against what should ensue.
MIRANDA: How came we ashore?
Thunder would have been heard in the background as Prospero says ‘Thy false uncle’, creating
pathetic fallacy.
At this point Miranda moves closer to Prospero, and he holds her hand on his knee.
PROSPERO: By Providence divine….
Some food we had, and some fresh water, that
A noble Neapolitan, Gonzalo,
Out of his charity, who being then appointed
Master of this design, did give us, with
Rich garments, linens, stuffs, and necessaries,
Which since have steamed much. So of his gentleness,
Knowing I loved my books, he furnished me
From mine own library with volumes that
I prize above my dukedom.
MIRANDA: Would I might
But ever see that man.
PROSPERO: Now I arise,
Sit still, and hear the last of our sea-sorrow… [he resumes his mantle]
Here in this island we arrived, and here
Have I, thy schoolmaster, made thee more profit
Than other princess’ can, that have more time
For vainer hours — and tutors not so carefully.
MIRANDA: Heaven thank you for’t…
And now I pray you sir —
For still ’tis beating in my mind — your reason
For raising this sea-storm?
PROSPERO: Know thus far forth.
By accident most strange, bountiful Fortune
Now my dear lady — hath mine enemies
Brought to this shore: and by my prescience
I find my zenith doth depend upon
A most auspicious star, whose influence
If now I court not, but omit, my fortunes
Will ever after droop. Here cease more questions.
Thou art inclined to sleep… [at a pass of his hands, her eyes close and
presently she sleeps] ’tis a good dulness,
And give it way… I know thou canst not choose…
Come away, servant, come; I am ready now,
Approach my Ariel… [he lifts his staff] Come!
ARIEL: All hail, great master, grave sir, hail: I come
To answer thy best pleasure; be’t to fly,
To swim, to dive into the fire…to ride
On the curled clouds to strong bidding task
Ariel, and all his quality.
PROSPERO: Hast thou, spirit,
Performed to point the tempest that I bade thee?
ARIEL: To every article….
I boarded the king’s ship: now on the beak,
Now in the waist, the deck, in every cabin,
I flamed amazement. Sometime I’ld divide
And burn in many places; on the topmast,
The yards and bowsprit, would I flame distinctly,
Then meet, and join; Jove’s lightning, the precursors
O' th' dreadful thunder-claps, more momentary
And sight-outrunning were not; the fire and cracks
Of sulphurous roaring the most mighty Neptune
Seem to besiege, and make his bold waves tremble,
Yea, his dread trident shake.
PROSPERO: My brave spirit!
Who was so firm, so constant, that this coil
Would not infect his reason?
Surprisingly, Woolfenden doesn’t provide any music for Ariel’s entrance. Ariel is very often
associated most strongly with music, and given a lot of music by theatre composers, but
Woolfenden chooses to stay mainly with Ariel’s songs.
Ariel’s opening lines were whispered, and spoken through a radio microphone. The prompt book
documents that Ariel delivered these lines inanimately, but Prospero’s facial reactions were much
more animated.
ARIEL: Not a soul
But felt a fever of the mad, and played
Some tricks of desperation; all but mariners
Plunged in the foaming brine, and quit the vessel;
Then all afire with me the king’s son Ferdinand,
With hair up-staring — then like reeds, not hair —
Was the first man that leaped; cried, ‘Hell is empty,
And all the devils are here.’