Tempest Study Guide

Study Guide

Written by William Shakespeare Directed by Rick Davis

Introduction Welcome to George Mason University! You will be attending a special student matinee performance of the School of Theater's production of The Tempest.

This won’t be a traditional full-length production; what you’ll see is a 60-minute adaptation of Shakespeare’s play. To put that into perspective, the original script we worked from was about 140 pages long, and we had to carefully cut it down to around 60!

But don’t worry, this study guide is here to help support your experience.

Adapting the script was a long and collaborative process, with every edit sparking discussion about how to preserve the heart of the story.

Another unique aspect of this performance is that it’s our understudy show.

Understudies are actors who step in when a main cast member is unable to perform. For this special performance, you’ll get to see our full cast of understudies in action, a rare and exciting opportunity!

We hope the activities and information in this guide enhance your experience and help you make the most of your visit to George Mason University.

Enjoy the show!

Sincerely, Isabel Nemati Dramaturg BA Theater Education, Business Minor 2026 Dramaturgs support informed creative choices while maintaining the integrity of the piece.

They also act as conceptual collaborators, offering constructive feedback to the director throughout rehearsals. Think of them as an internal audience member, ensuring the story is clear, engaging, and true to its vision.

Did you know?

A dramaturg is like the production’s librarian and resident Wikipedia page! They provide research, context, and sources to help the cast and crew fully understand and bring the world of the play to life.

About the show What do you think the show is about based on these images?

Yuji Fuji

Raoul Hausmann

Jean Giraud

zdzislaw beksinski

Did you know?

There are countless editions of Shakespeare’s plays! The Folger Library alone owns at least 40 stand-alone translations of The Tempest in various languages.

Robert Venosa

About the show We will be exploring The Tempest through a technology lens. A lens is a specific perspective used to analyze a text. This means you’ll see elements of AI and tech at play throughout the production, connecting Shakespeare’s story to modern ideas.

Act 1, Scene 1 A violent storm rages at sea. A ship carrying Alonso the King of Naples, Ferdinand (his son), Sebastian (his brother), Antonio the Duke of Milan, Gonzalo (an advisor), and two lords called Francisco and Adrian is caught in this storm. They are returning to Italy after attending the wedding of Alonso’s daughter (Claribel) in Tunis. The ship starts to sink as the storm overpowers them.

Act 1, Scene 2 On an island, Miranda is upset about the shipwreck, but her father, Prospero, reassures her that no one was harmed. He reveals that he was once the Duke of Milan, but his brother Antonio, with the help of King Alonso, stole his title and exiled him and Miranda when she was just a baby. The kind Gonzalo helped them reach the island they now inhabit for safety. We learn that Prospero used his magic to summon the storm that brought his old enemies to the island. He causes Miranda to sleep and calls for his spirit servant, Ariel. Ariel explains that everyone on the ship is now scattered around the island. Ariel is given new orders by Prospero, in order to achieve freedom. Prospero then summons Caliban, his reluctant servant and the son of a dead witch (Sycorax). Ariel leads Ferdinand to Miranda where they instantly fall in love, which delights Prospero, but he pretends to be suspicious of Ferdinand and takes him prisoner to test his loyalty.

Did you know?

Our performance text was created by comparing five different English-language editions.

About the show Act 2, Scene 1 King Alonso is heartbroken, believing that Ferdinand drowned in the storm. Gonzalo tries to comfort him, but Antonio and Sebastian mock him. While Alonso and Gonzalo sleep, Antonio convinces Sebastian to kill them so Sebastian can become king. Just as they draw their swords, Ariel magically wakes Alonso and Gonzalo, saving their lives.

Act 2, Scene 2 Caliban meets Trinculo, a jester, and Stephano, a drunk butler, who also survived the wreck. At first, they are scared of each other, but after becoming drunk, they become friends. Caliban, excited to have new allies, pledges to serve Stephano as his king, hoping to overthrow Prospero.

Act 3, Scene 1 Ferdinand, now a prisoner, is forced to do hard labor, but he doesn’t mind because he’s in love with Miranda. She confesses her feelings, and they decide to marry. Prospero watches secretly and is pleased with how things are going.

Act 3, Scene 2 Caliban convinces Stephano to kill Prospero so he can take control of the island. Stephano loves the idea of being king. Ariel secretly listens and plays tricks on them, leading them away with enchanting music.

Did you know?

Two named characters are mentioned in The Tempest but never appear on stage: Sycorax and Claribel. Sycorax is Caliban’s mother, while Claribel is Alonso’s daughter.

Claribel’s marriage to the King of Tunis sets the events of the play in motion.

About the show Act 3, Scene 3 Prospero creates a magical feast for Alonso, Antonio, and Sebastian. As they reach for the food, Ariel appears disguised as a terrifying harpy and accuses them of their past crimes against Prospero. He warns that they will never escape unless they seek forgiveness. Alonso, feeling guilty, leaves to find his son, while Antonio and Sebastian angrily prepare to fight the island’s spirits.

Act 4, Scene 1 Prospero finally gives Ferdinand and Miranda his blessing and celebrates with a magical performance (a masque) featuring spirits dressed as the goddesses Iris, Ceres, and Juno.

Suddenly, he remembers Caliban’s plot, abruptly stops the show, and sends Ariel to set a trap.

Caliban, Stephano, and Trinculo sneak into Prospero’s home to kill him, but they are distracted by fancy clothes left out as bait. As they try them on, spirits disguised as hunting dogs chase them away.

Act 5, Scene 1 Ariel tells Prospero that Alonso, Antonio, and Sebastian have been driven mad by guilt. For the first time, Ariel expresses pity for them, and suggests that Prospero should show mercy. He vows to give up magic after this final act. Prospero reveals himself to his enemies and forgives them, reclaiming his title as Duke of Milan. Alonso is still mourning Ferdinand, but Prospero surprises him by reuniting father and son. Ariel brings in the ship’s crew, who report that their vessel is mysteriously restored. He then rounds up Caliban, Stephano, and Trinculo, who are still drunk and humiliated. Before leaving the island, Prospero frees Ariel and promises Caliban his freedom, now that he has learned his lesson. In the final moments, Prospero steps forward and asks the audience for their pardon, bringing the play to a close

Characters Costume renderings created by Eli Nguyen (Co-Costume Designer, Concept & Visualization. BA Design & Technical Theater) Brothers

Prospero Master/Servant

Maste r/Serv ant

Co-conspirators

Daughter

Lovers

Stephano Friends

Antonio

Ariel

Ferdinand Miranda

Father/S on

rs Co-conspirato

Trinculo

Caliban r Jeste

Brothers Employ ed by

Sebastian Alonso

Gonzalo

Characters Character

Description

Quote

Former Duke of Milan

“We are such stuff As dreams are made on, and our little life Is rounded with a sleep. Sir, I am vexed.

Bear with my weakness. My old brain is troubled.”

👸Miranda

Prospero’s daughter

“O wonder!

How many goodly creatures are there here!

How beauteous mankind is! O, brave new world That has such people in ’t!”

🦹‍♂️Antonio

Duke of Milan, Prospero’s brother

“Hang, cur, hang, you whoreson, insolent noisemaker!”

👑Alonso

King of Naples

“Prithee, no more. Thou dost talk nothing to me”

🧚Ariel

Servant of Prospero

“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 thy strong bidding task Ariel and all his quality.”

🧌Caliban

Servant of Prospero

🧙‍♂️Prospero

“You taught me language, and my profit on ’t Is I know how to curse.”

Characters Character

🦹‍♂️Sebastian 👯‍♂️Stephano

Description Little brother of Alonso

Alonso’s butler and a drunk

👯‍♂️Trinculo

Alonso’s jester

👴Gonzalo

A kind old lord and friend to Prospero

🤴Ferdinand

Son of Alonso

Quote

“Thou dost snore distinctly.

There’s meaning in thy snores.”

“Though thou canst swim like a duck, thou art made like a goose.”

“Swum ashore, man, like a duck. I can swim like a duck, I’ll be sworn.” (Trinculo drinks.)

“Beseech you, sir, be merry. You have cause— So have we all—of joy”

“The very instant that I saw you did My heart fly to your service, there resides To make me slave to it, and for your sake Am I this patient log-man.”

Map Why are these locations important?

Europe Milan

Naples

Algiers

Tunis Mediterranean Sea

Africa

Alonso is king of Naples Alonso’s daughter Claribel was married in Tunis, right before the start of the play Prospero is the (rightful) duke of Milan Sycorax, the mother of Caliban, was originally from Algiers (and later exiled)

Did you know?

In our production of The Tempest, we pronounce "Milan" (Mil-AHN) as "MILuhn" to preserve the rhythm of Shakespeare's verse.

Meet the playwright What inspired The Tempest?

William Shakespeare was born in 1564 in Stratford-upon-Avon in England. By 1592, he was living in London and working as an actor and playwright. He was part owner of the acting company, the Lord Chamberlain’s Men (later called the King’s Men), which built and performed in the Globe Theatre. Over the course of his career Shakespeare wrote 37 plays, 154 sonnets and many other poems. He died in 1616.

Did you know?

The Tempest is thought to be one of the last plays Shakespeare wrote alone.

Many believe that The Tempest was inspired by a historical shipwreck which occurred in 1609, when a vessel called the ‘Sea Venture’ that was on its way to Virginia, with supplies to support the English settlers there, was caught in a hurricane. The storm caused the crew to be stranded on Bermuda. It is said that Shakespeare got hold of a copy of a narrative report written by a survivor, which inspired The Tempest. The Tempest was probably written in 1610. It was first performed at Court by the King’s Men in the fall of 1611

Did you know?

Starting in 1609, Shakespeare and his company also began performing in an indoor theater, the Blackfriars. The indoor theater utilized candlelight as a light source, providing new opportunities to creatively stage flying spirits and disappearing acts in productions.

Meet the director Why direct The Tempest? Why now?

“This play offers a story of the triumph of forgiveness over vengeance. Prospero, the wronged Duke of Milan, decides to pardon his enemies who have, variously, overthrown his rule, nearly killed their own monarch in their relentless pursuit of power, and, in a subplot that manages to be both menacing and comic, planned to murder him. Prospero’s discovery of the power of forgiveness – immortalized in one of Shakespeare’s most beautiful lines, “the rarer action is in virtue than in vengeance” – comes to him under the guidance of Ariel, a spirit of prodigious, shape-shifting powers, but affirmatively not a human being.

Dean, College of Visual and Performing Arts, CVPA Executive Director, Hylton Performing Arts Center, CVPA Professor, School of Theater, Theater Dean, College of Visual and Performing Arts & Adjunct Faculty, Arts Management, Arts Management Executive Director, Hylton Performing Arts Center, Hylton Center

Rick Davis has been a leader in theater and education for over 30 years. He joined George Mason University in 1991 as Artistic Director of Theater of the First Amendment (TFA) and a theater faculty member. Under his leadership, TFA won 12 Helen Hayes Awards and launched numerous works that found success in regional theaters, television, and publishing.

Rick has directed over 50 professional theater and opera productions at venues such as the Kennedy Center, Center Stage, and Opera Idaho. He has also worked as a dramaturg on more than 30 productions and directed numerous university performances.

Beyond directing, Rick has played key roles in academic leadership. He served as Mason’s Associate Provost for Undergraduate Education (2007–2011) and became Executive Director of the Hylton Performing Arts Center in 2011. In 2015, he was appointed Dean of the College of Visual and Performing Arts, where he continues to oversee academic programs, performances, and exhibitions while teaching and working on creative projects.

Rick is also an author and translator, with works including Calderón de la Barca: Four Great Plays of the Golden Age and cotranslations of Ibsen’s plays.

That this non-human figure can teach such a deeply human (and humane) lesson is one of the wonders of the canon, and for me it fully satisfies the questions above. The world can always use a little more forgiveness, and Shakespeare seems to be asking us to look beyond our usual sources of moral guidance, as they may be failing us a bit. If our audience takes nothing else away from this encounter, I hope consideration of the “rarer action” stays with us all for a while.

But there is so much more to the “here and now” of a 21st century Tempest. What if Prospero’s magic powers come from his mastery of the digital world? What if his island of exile is home to a megadata center that he turns to his own uses? What if that wise spirit, Ariel, is an AI manifestation? What if Caliban, son of the “foul witch Sycorax” and rightful inheritor of the island, is a cyborg whose altered humanity is tested and grows in unexpected directions?

We are exploring all of this and more, and finding that Shakespeare’s “large language model” easily contains this vision of Miranda’s “brave new world.” We look forward to your thoughts.”

Key vocabulary Masque- A Performance involving costumes, music, dance, and often masked performers Boatswain (Bo-sun)- An officer on a ship responsible for equipment and crew Court performance- Theatrical production staged specifically for a royal court with a focus on entertainment value. Includes elements like masques, dances, and lavish sets Topsail- The sail next above the lowermost sail on a mast in a square-rigged ship Tempest-A violent windstorm, frequently accompanied by rain, snow, or hail.

Prose – Ordinary written or spoken language without a structured meter or rhyme, unlike poetry or verse. In Shakespeare’s plays, prose is often used for commoners or comedic moments.

Verse – A form of writing that follows a specific rhythmic structure, often used in poetry and drama. In Shakespeare’s plays, noble or important characters often speak in verse.

Iambic Pentameter – A rhythmic pattern consisting of five (penta) iambs per line, where an iamb is a metrical foot with one unstressed syllable followed by a stressed syllable (e.g., Shall I compare thee to a summer’s day?).

Shakespeare frequently used this meter in his plays and sonnets.

Indulgence – Allowing oneself or others to enjoy something pleasurable.

Nonpareil – A person or thing that has no equal; unparalleled or unmatched in excellence.

Scurvy – Used as an insult in Shakespeare’s time, meaning despicable or lowly.

Vassal – A person who owes loyalty and service to a feudal lord in exchange for land or protection. In Shakespeare’s time, calling someone a vassal could imply subservience or inferiority.

Allay – To reduce or calm fears, worries, or pain.

Nymphs – In mythology, nature spirits often associated with water, forests, or mountains. In The Tempest, they appear in magical scenes.

Iris – The Greek goddess of the rainbow and a messenger of the gods.

Ceres – The Roman goddess of agriculture, grain, and fertility.

Juno – The Roman queen of the gods, associated with marriage and protection.

Harpy – A mythical creature with a woman's head and a bird's body, often associated with punishment and vengeance.

Mooncalf – A deformed creature in folklore, sometimes used to describe someone foolish or monstrous.

Forsooth Forsooth is a Shakespearean twist on the classic warm-up game Whoosh.

It’s a favorite among our cast during rehearsals, and we hope you have just as much fun playing it as we do!

1. Everybody stands in a circle.

2. Start with one person, who waves both hands to their neighbor, saying `Whoosh`.

3. The next person passes the Whoosh to his neighbor, and that way the Whoosh is passed around the circle.

4. Now for the Shakespeare sounds/movements that can be added: “Thou Villain” - Point at someone across the circle (No gasp) “You cankerblossom” - Point at someone across the circle and gasp!

“You egg” - Point at someone across the circle. Both will walk across the circle in a squat, switching places.

“Methinks you are my glass” Point at someone across the circle. Run too each other and meet in the middle saying “mimimimi” with your hands up and switch places like you are up against a mirror.

Romeo gets on one knee and says "she speaks." Juliet responds with "Ay, me" and puts a hand against her face sheepishly Take the person standing next to you to the middle of the circle saying “Speak hands to me.” Everyone joins at the middle of the cirlce and mimes stabbing the person in the middle. The person brought in must die dramatically and crawl to someone else in the circle. Their last words are “Et tu brute” and then they die. Everyone claps.

Here are some moodboards also created by Eli Nguyen. A moodboard is a visual tool used in the early stages of design to capture the overall vibe and essence of a concept. It helps convey the concept, set the tone, and ensure that everyone on the team shares a unified vision.

Trinculo

Miranda

Ariel

Caliban

What are some words that come to mind when looking at these mood boards? What can you infer about the characters? What makes you think that? What emotions or themes do you think the designer is trying to convey?

Group Activity 1. Put the class into groups of three to five 2. Assign each group one character of the four characters 3. Give the group five minutes to come up with five personality traits for this character 4. Once each group has their five characteristics, give the group five minutes to work together to create a physical gesture for each characteristic 5. Ask each group to show the physical gestures they have come up with for each word 6. Ask everyone to work individually and give them one minute to come up with one physical gesture that they feel encapsulates the character 7. Once everyone has found their final physicality, take it for a walk around the room. Ask the students to think about: how does this person move through space? Think about speed, eye contact, posture 8. Now indicate the moment this character steps foot on the island. Ask guiding questions like how new is this environment to them? Do they enjoy this or not? Are they alone or with people? How does this change their physicality?

Group Activity Staging Act 1 Scene 1 1. Provide students with copies of the script for Act 1 Scene 1 2. Invite them to form a circle in the space 3. Ask students to take turns reading the original lines round the circle, swapping readers at the end of each part.

4. Assign each student a line and ask students to translate their line into their own words 5. Ask students to take turns reading the scene again, but now in their own words round the circle 6. Now read the scene again but in the original writting. Students can now start to think about staging the scene. Each time they think they might step out onto the deck or come up to see what’s happening invite them to stand and move into the middle of the circle. Think about why they might come up on deck or leave again.

What does your character hear or see that makes them move? How does their body language change?

7. Reflect and discuss the group’s choices, thinking about how different entrances and exits make the scene. Do their choices impact on relationships and dynamics?

Do they help to create character and drama?

8. Open up the circle and try performing the scene full out! Send us a video of your final product if you’d like. You can implement elements like sound and light, assign groups to take charge of these elements.

ACT 1 Scene 1 A tempestuous noise of thunder and lightning heard.

Enter a Shipmaster and a Boatswain.

Discussion The show may be over, but we hope your thoughts aren’t!

Here are some questions to spark conversation and keep you thinking about The Tempest: Now that they’ve been freed, what do you think Caliban and Ariel will do next?

If you were staging your own version of a tempest, what would your storm look, sound, and feel like?

If you were Prospero, how would you treat Caliban and Ariel?

Do you consider The Tempest a comedy or tragedy? Why? In Act 4, Scene 1, Prospero becomes so immersed in the masque that he completely forgets about Caliban’s plan to kill him. Have you ever been so caught up in something that you lost track of everything else? What was it?

Many female characters in Shakespeare’s later plays grow up never knowing their mothers. How would this play be different if a mother was present?

What Shakespeare play would you like to read/watch next

Ariel & Caliban Compare and contrast Ariel and Caliban

Ariel

Airy Revenge From Algiers Rebellious Obedient Earthy

Caliban

Poetic Seeking freedom Invisible Physical Respects Prospero Deep connection to the island Intelligent

How else might you describe these two characters?

3-2-1 Reflection 3 Things I Learned 1.

2.

3.

2 Things I Found Interesting 1.

2.

1 Opinion I have 1.

How to write a review 1. Playwright & Story What is the name of the play, and what kind of story is being told?

Without summarizing everything, what worked well in the story?

Did anything about the plot or themes stand out to you positively or negatively?

2. Acting & Performance Instead of judging a character’s choices, evaluate how well the actor portrayed them.

Were their voice, movement, and emotions believable and engaging?

Did any actor’s performance stand out to you? Why? 3. Direction & Overall Interpretation The director is responsible for the overall vision of the play. Did the tone feel right?

Were there moments that surprised you or made you think?

How well did all the elements (acting, design, and story) come together?

4. Technical Elements Think about the set, costumes, lighting, and sound.

Did these elements successfully transport you to another world?

How did the design choices help tell the story?

5. Your Final Thoughts Sum up your overall impression.

Would you recommend this play to others? Why or why not?

Can you write a one page review?