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Shakespeare’s “The Tempest” by Savage Rose Theatre


The plays and sonnets of the great bard of Avon have no time constraints. The most admirable Shakespearean works are staged around the globe and continue to conquer worshipers’ hearts even nowadays. The majority of critics and art admirers treat such masterpieces as Othello, Hamlet, A Midsummer Night’s Dream, and other known performances as a bright and authentic description of the European society of the Elizabethan epoch. The present research will review the play named The Tempest, which was performed by the Savage Rose Theatre in 2014. It is claimed to be the final work of Shakespeare unveiling the master’s inimitable style and literary potential to the full extent.

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Staging, Lighting, and Acting, and Their Role in the Performance Perception

The Savage Rose Company’s interpretation of The Tempest is distinguished by a winning combination of tragedy with the traces of comedy. The decorations remain unchanged throughout the play; one can recognize the silhouettes of the ship’s stern harmoniously accommodating a captain’s cabin. A viewer may see clearly that the tempest is being summoned by Prospero (the protagonist), who is involved in sorcery. As the plot develops, the staging changes dynamically: the ship and its crew encounter the storm exactly the way it is depicted in the first act of the performance (Collins, 2015).

The accompanying sounds and lighting, emphasized by a professional actors’ work allow one to fully experience the terror these people face. The rumbling of thunder, light flashes and terrified characters wearing the Elizabethan era costumes help to sink into the atmosphere of absolute despair. One can see where the waves come from by watching the passengers rolling on the ship’s deck in one and the same direction. The idea of hopelessness is reflected in the way it was meant by Shakespeare.

Creating the Tone and Mood of the Play

The tone and mood of the play tend to vary as the acts and scenes become changed. The story begins with the scene of the wreck, during which the atmosphere of hopelessness and terror prevails. Tarnishing lights assist in creating a somber mood evoking nothing but sympathy for the passengers and the members of the crew. The next scene, however, conjures feelings and emotions that entirely different from those described earlier. The conversation between Prospero and Miranda (his daughter) makes one laugh at the remarks and adorably watch the dialogue. Lights, sounds, and emotional cues serve as the factors to predefine the overall tone of the narration.

The Easiest Parts for a Viewer’s Comprehension

The first part introduces the tempest and the other one depicting how Ferdinand, Miranda, and Prospero finally meet, which can probably be viewed as the least complex to understand for the audience. The décor elements used to remind of the catastrophe and the feelings of the two young people are the details that kept standing out through the performance. The presence of these both constituents stimulates one’s undisguised desire to witness the further plot’s development (Hatchuel & Vienne-Guerrin, 2017). By the reaction of the audience, one can speak of people’s genuine interest in this kind of art. In its turn, it drives to the assumption that theatre takes a remarkable place in contemporary culture and can successfully compete with cinema and television.


Summarizing the facts, one has to admit that the play ideally reflects the folklore and traditions of sixteenth-century Europe. The stage decorations, costumes, and lighting help to reach the atmosphere, which would keep the audience engaged throughout the performance. Also, the laughter and praising remarks heard from the spectators serve as proof that people are eager to visit the theatre, even though globalization shows the tendency to switch their attention towards electronics.


Collins, M. J. (2015). The Tempest by Shakespeare Theatre Company. Shakespeare Bulletin, 33(2), 350-354.

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Hatchuel, S., & Vienne-Guerrin, N. (Eds.). (2017). Shakespeare on screen. Cambridge, UK: Cambridge University Press.

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