Interludes

THE HANGOVER REPORT – In a farewell to the Delacorte as we know it, the luminous Renée Elise Goldsberry leads Public Works’ integrated adaptation of THE TEMPEST

• By drediman
• August 30, 2023
• No Comments

Last night, I attended a performance of Public Works’ musical adaptation of The Tempest. Now in its second decade, these large-scale, city-embracing/promoting Public Works offerings have become an integral summer-capping tradition for New Yorkers. And given that the offering is the last full production to play the Delacorte Theater as we currently know it — after its weeklong run, the outdoor amphitheater in Central Park will undergo an extensive renovation that’s projected to last 18 months, more or less — I made sure to bid the beloved venue a proper but bittersweet farewell during the performance.

In short, this musical version of The Tempest is the most fully integrated Public Works’ production I’ve seen to date. By weaving in community members as the spirits of the the play’s enchanted island, they’re given an integral role in the narrative, making their presence on the Delacorte stage dramaturgically sound (this is in contrast to previous Public Works efforts, in which their onstage contributions seemed charmingly superfluous and at times jarringly inserted), without sacrificing the unadulterated joy they invariably bring to the stage. With an uplifting and accessible new score — the music and lyrics are by Benjamin Velez — and the inclusion of a manageable amount of the Bard’s language, this fast-paced, savvily truncated Public Works presentation makes for an ideal entree into the wondrous world of Shakespeare for the uninitiated. 

Directed seamlessly and intelligently by Laurie Woolery, the production brims with hope and goodwill. It also makes connections to the painful process of emerging into the post-pandemic world, making the work newly relevant. Set on the remnants of the set of the recent Shakespeare in the Park production of Hamlet, Woolery also brilliantly points to several visual references to draw potent symbolic connections to the larger context in which the production is being performed. Overall, the acting by the Equity portion of the cast is nothing short of solid and accomplished. As Prospero, Tony-winner Renée Elise Goldsberry is luminous as always, lending the iconic role emotional transparency and a maternal energy that beautifully unifies the production. Also of note is Jo Lampert, whose distinctive Ariel beguilingly flits about the stage with cunning mischievousness.

HIGHLY RECOMMENDED

THE TEMPEST
Off-Broadway, Play
The Public Theater‘s Public Works at the Delacorte Theater
1 hour, 40 minutes (without an intermission)
Through September 3