William Shakespeare’s The Tempest is old. Prospero, Caliban and Miranda first came to the stage on Nov. 1, 1611. This story (if memory serves from 10th grade English) of exile, magic and storms has been told many times since. On Oct. 15, an interpretation is coming to the Bolton Theater, 414 years after its original stage debut, but until then, here is a little preview. 

For those who may have forgotten the plot of the show, or were more prone to engage with the SparkNotes version in their aforementioned 10th grade English class, here’s a quick summary: Prospero, the former duke of Milan, has been exiled and he’s not digging the whole banishment business. In fact, he’s going a little crazy on the island where only he, Miranda (his daughter), Ariel (a spirit?) and Caliban (the allegedly savage son of the presumably evil witch Sycorax). Prospero, being the delightful old chap he is, conjures a tempest which conveniently washes all those who have wronged him and can restore his place in society ashore on his island. From there, the play takes off.

You may ask: Why is The Tempest coming to the Hill now? I’m here to tell you that, first off, it’s Shakespeare (ever heard of him?). Second, and more relevant to us here in Gambier, the production is being led by Thomas S. Turgeon Professor of Drama and Film Jonathan Tazewell ’84. For those who don’t know, Tazewell is a bit of a Kenyon legend. He graduated in 1984 and returned in 1997 to teach. He has been at the forefront of not only a large number of theater productions but also the development of Kenyon’s film program. Tazewell has also been thinking about a theatrical production of The Tempest for years.

I met with Tazewell on Friday to discuss his directorial process for the upcoming show, his 19th stage production directed at Kenyon. Together, we delved into The Tempest. 

When asked why this play felt right for the moment, he told me that he came up with the idea during the COVID-19 pandemic. Tazewell said, “We were thinking about how we could do theater while in a pandemic and The Tempest jumped to mind.” His original idea was to put it on at Ariel-Foundation Park in Mount Vernon. However, logistical issues kept the production from coming to fruition. Six years later, he finally has the chance to bring his version of Shakespeare’s The Tempest to the stage. 

Tazewell told me that he wanted to “ask students to think about the legacy of imperialism and extractive colonialism.” The production challenges viewers to wonder how we make sense of ourselves in the context of colonialism. Owen Wills ’27, who will be taking on Prospero, said, going into the play, viewers should “question every ‘happy’ ending.” 

I also got the chance to watch a rehearsal, which did not disappoint. The opening is energetic, diving right into some of the story’s more intense action without giving the audience a moment to consider boredom. Beyond its intensity, the start has a palpable sense of humor that audience members will delight in.

The rehearsal then moved to a very crucial scene in Act 5, where Wills really shone as Prospero. His performance was meditative, allowing him to stand out in the quiet moments as much as the loud ones. The character has some dramatic moments but, more impressively, Wills allowed Prospero to linger in a more somber and contemplative state. Wills said he is trying to make Prospero “not likable, but more justifiable.” 

Sadie Martinez ’27 and Tennyson Fuhrer ’29 also had notable performances as Miranda and Ferdinand, the young lovers at the center of the story. Additionally, Jonah Brenneman ’30 had a striking stage presence as Alonso. (Kenyon, we might have a young star on our hands.) My only regret was that I did not get to see more of how Caliban, played by Rayaan Shaik ’29, was portrayed.

Tazewell’s relaxed approach to directing fosters a warm environment on set, ripe with a mix of laughter between takes and intense focus when the action begins. Wills described Tazewell as “a collaborator, one that asks good questions and trusts me and the rest of the cast to think about what we’re doing and why.”  

If you aren’t sold already, I apologize. I can only offer you one more tidbit: puppets. Lots of them. That’s it. I didn’t see them when I was there, but I have heard they will be crucial to the production.

If you want one more thing to focus on prior to going in: Think about Prospero. What does he take? How does he profit? Who suffers at his hands? Spoiler warning — he might not be the hero. I’ll leave you with this: When asked to briefly describe the play, Wills called it “handcrafted”; Brenneman said “absolute Shakespeare.” Get ready, Gambier. We’re in for a good one.