Nebraska Shakespeare presents The Tempest
The 28th season of Shakespeare On The Green opens with The Tempest, directed by Rob Urbinati.  

June 19-22, July 1, 3, 6 - Curtain at 8:00 PM, but activities, food, and more earlier!

(From left to right: Gregg Mozgala as Caliban, Richard McWilliams as Prospero, and Sarah Carlson-Brown as Miranda)

We are such stuff as dreams are made on. Prospero –Act 4, Scene 1.
The Tempest returns to Shakespeare On The Green after being performed in our first year in 1987 and again in 2002. This production is a contemporary Italian, action-oriented take, infused with many pieces of traditional and modern Italian music. The Tempest is believed to the final play Shakespeare wrote alone; a farewell to a legacy.

Alonso, the King of Naples, and his associates encounter a storm that splits their boat in two while returning from his daughter’s wedding.

On a nearby island, Miranda, anxious about the fate of those on the ship, is assured by her father, Prospero that everyone is safe. He used his powers to conjure the storm when fate brought his enemies near. He tells Miranda how he was "supplanted" from his position as Duke of Milan by his brother Antonio, and Alonso. He and Miranda were sent to sea in a rickety boat with only his magic books, and have been living on the island for twelve years with two servants: Ariel, a spirit, and Caliban, a savage.

Ariel lures Ferdinand, Alonso’s son, to Prospero's cell, where he is enraptured by Miranda. Elsewhere, Alonso and the Neapolitans search for Ferdinand. When Ariel induces them into a trance-like sleep, Antonio encourages Sebastian, the King’s brother, to murder Alonso so Sebastian can rule Naples, a plan that is thwarted by Ariel.

Caliban comes upon Trinculo and Stephano, two of the King’s servants. Heavy with drink, he convinces them to kill Prospero so they can rule the island. Ariel informs Prospero of the plan. With Ariel’s assistance, Prospero finds ways to punish his enemies, and thwart their plans. Persuaded by Ariel to seek not only revenge, but reconciliation, Prospero asks Ariel to bring all of the Neapolitans to him, where he confronts, and ultimately, forgives them.

Alonso is reunited with Ferdinand. Prospero frees Caliban and Ariel, and boards the ship with the Neopolitans to return to Italy for the wedding of Ferdinand and Miranda, which will reunite Naples and Milan, at least for a time.

Rob Urbinati
Director - Tmp

Rob is a freelance director and playwright based in New York City, Director of New Play Development at Queens Theatre, Literary Manager of The Private Theatre and Artistic Adviser for Houston Family Arts Center. In New York, he has directed for The Public Theatre, Classic Stage Company, York Theatre, The Culture Project, Abingdon Theatre, Pearl Theatre, Ensemble Studio Theatre, Cherry Lane Theatre and New York University, as well as theatres and universities across the country. Rob received an M.A. from The University of Nebraska at Omaha, and a Ph.D. from the University of Oregon. His plays as a writer include Hazelwood Jr. High, West Moon Street and Death By Design, all published by Samuel French, and Rebel Voices and Shangri La, which will both be published by Samuel French in 2014. His new play, UMW, was commissioned by Linfield College in Oregon, where it premiered in 2013. Rob considers Nebraska his second home, and has directed for many area theatres including Creighton University, Rose Theatre and Nebraska Repertory Theatre. In 1993, Rob directed The Merchant of Venice for Nebraska Shakespeare. For Buzzy and Alma; andato, ma non dimenticato.

Since its first known production in 1611, Shakespeare’s The Tempest has been lauded as a unique theatrical achievement. Prospero’s displays of magical “art” have enchanted audiences for centuries. The Tempest is arguably a perfect mixture of the magical splendor of A Midsummer Night’s Dream, the tender musicality of Twelfth Night and the dangerous subterfuge of many of the tragedies and histories. Surely, this vibrant amalgamation has contributed to its success. Although many find the play difficult to categorize, (it was classified as a comedy in the First Folio), the play’s wide range of themes, interpretive possibilities and complex character motivations make it one of Shakespeare’s most distinct and surprising plays.

It’s fitting that 
The Tempest
 would seamlessly blend perspectives of the normal, the exaggerated, and the supernatural as the characters are often trying to distinguish these differences for themselves. Prospero’s daughter Miranda sees another male human for the first time in her adult life (the normal), Stephano, one of the “comic” characters, sees what he believes is a four-legged beast with two heads (the exaggerated), and Alonso witnesses his dark past through the imagery of a frightening “harpy” (the supernatural). But “visions” extend throughout the play: Antonio pictures a crown being place on Sebastian’s head, Caliban sees Prospero overthrown and slaughtered, and so on. 
The Tempest
 sets expectations, then subverts them, forcing the audience to continuously reevaluate their reactions to each character and event.

There is not a single character that provides respite from the action. The high stakes and competing objectives fraught with life-or-death situations create sustained drama and tension. The audience is asked to experience Prospero as a man seeking tender reconciliation or harsh revenge. Caliban wants to rid himself of Prospero’s domination, seek vengeance and rule the island, yet the island is rightfully his. Alonso is wracked with guilt, and convinced that his behavior is directly responsible for his son’s death. Ferdinand has to prove his worth before he can wed Miranda, who is so unswerving in her trust of him that she betrays her father. Prospero demands that Ariel must perform his bidding to earn his freedom – but Ariel has lessons to teach his master. Even Stephano and Trinculo, two characters often seen as “clowns,” are persuaded to kill a stranger, though they’re warned of his mystical powers. Each character has distinct goals and considerable obstacles to overcome – all of which create urgency and excitement.

It is not surprising that Shakespeare wrote The Tempest at the end of his career, when his abilities to blend genre, formulate plot, create rich, detailed characters, flaunt his wit, indulge spectacle, and conjure a unique theatrical vision were unparalleled. It is the work of a Master, at the peak of his powers.


On The Island
Prospero, the usurped Duke of Milan
Miranda, Prospero’s daughter
Ariel, a spirit; Prospero’s servant
Caliban, a savage; Prospero’s servant
the RABBLE, spirits and servants to Prospero

From The Ship
Antonio, Prospero’s brother and usurper 
Alonso, King of Naples
Sebastian, Alonso’s brother
Ferdinand, Alonso’s son
Gonzala, a loyal councilor
Adrian, member of the wedding party
Francisca, member of the wedding party
Girl, Francisca’s daughter
Boy, Francisca’s son

Stephano, servant to Alonso
Trinculo, servant to Alonso
Captain of the ship
Boatswain, officer of the ship

Scenic Designer
Lighting Designer
Costume Designer
Sound Designer
Stage Manager
Fight Director
Properties Master
Vocal Director
Italian Language/Culture Consultant
Assistant Stage Manager
Assistant Director
Assistant Costume Designer
Stage Management Intern

*Appears courtesy of Actors Equity Association

Richard McWilliams*
Sarah Carlson-Brown
Josh Ryan
Gregg Mozgala*
Michael Conroy, Mallory Freilich, 
Jordan, Colleen Kilcoyne, 
Myles Phillips, Cameron Reeves, Emilio Sotelo, Kelsi Weston

Vincent Carlson-Brown
Kevin Barratt
Konrad Case
Jack Mackie
Moira Mangiameli
Elizabeth Dagle
Sharon Sobel
Tessa Fulmer
Eliot W. Gray

Brendan Ragan*
Dan Chevalier
Ben Beck
Ricardo Beaird

Paul Pape
Craig S. Moxon
Lindsay Pape
Joe Lullo
Danielle Taylor
Vincent Carlson-Brown
Matthew Hamel
Todd Brooks
Courtney Stein
Lucy Di Rosa
Ephriam Harnsberger
Steve Hartman
Wesley Pourier
Maryssa Brown