This week, finished sculpting Caliban and doing his papier mache, as well as five sets of ears for Ariel—because of the shape I had to cast them separately from the heads. Scheduled callbacks to replace our Miranda, who had to leave for personal reasons. Progressing on line learning for Prospero. Discussion with Anthony about Caliban and Alonso. Finished watching, with delight, six more hours of workshop tapes by John Barton.

And saw a gorgeous, deeply moving documentary, In a Dream, about the Philadelphia mosaic mural artist Isaiah Zagar. Elements of it open windows on Prospero. Must think about this more: some profound resonances.

And long-distance completion of discussion with Elizabeth about music for The Tempest, continuing on from “Tempest #25.”

IV.i.—Betrothal/Masque/Conspirators

• Ferdinand & Miranda: Variant of Love theme leading in and under Prospero’s first speech, then segue to island ambiance similar to III.i. similar to III.i.
• Moment when Ferdinand’s shackles are unlocked, a riff of magical sound.
• Ariel entry sting. His rhyming lines rhythmically backed.
• Love theme intro for Masque, then rapid patter/chant, almost as
fast Gilbert & Sullivan until Juno’s entry. New cue sustains when Ferdinand interrupts. Juno’s entrance changes the rhythm and tonality, a lush flowering of song for Juno.
• Shadows transform into a nude figure, then becomes pregnant: music change into something lovely but deeply threatening to Prospero. Then shadow of Caliban blots it out.

• Music jangled, into unsettled dissonance as Prospero interrupts. Then segues into darker tones as Prospero continues his “revels” speech.
• Another sting as Ariel appears. Then repeats as he disappears and appears rapidly. At exit, cross-fade to island ambiance.
• Variation on Clown theme as Prospero curses Caliban, sensing they’re coming, and through their entry. Continuing through their scene, with gradual intro of a darker magical theme leading to the dogs.
• Dog attack: extreme threat and nastiness, not realistic animal sounds but full expression of an animal rage that stems from Prospero’s.
• Strong underpinning of Prospero’s final speech of triumph over enemies. We should expect from this that he will take deadly revenge.
• Clown trio is collapsed in a heap as the lights fade. They are being tortured. Possibly the sound of stinging flies.

V.i.—Prospero/Ariel/Neapolitan Court/Forgiveness

• Act transition can take more time than previous ones. Possibly a reiteration of past themes. Echo of the tempest theme: the Tempest is the entire play, and we’re gathering everything together for the resolution.
• At Ariel’s description of the courtiers’ agony, we’ll see their shadows, should hear musical theme echoing this agony.
• “And mine shall.” Prospero’s choice of forgiveness underpinned by a theme connection with the last element of the masque: a pregnancy, a blossoming.
• “Ye elves of hills”: Entirely set to music. The first section (8 lines) is an invocation of the magical creatures, the broad scope. The second (10 lines) builds intensity to the truly terrifying: what I have done. The third (8 lines) is the renunciation, and it’s at enormous cost, a deep grief at what he’s giving up. We should weep. Final beat is the book closing itself.
• Sequence of speaking to the courtiers: reference the prepared harpsichord music from Revenger’s Tragedy, dark Jacobean Baroque. They are in a series of stop-motions, so there wants to be a marker for each group movement. It’s as if music that was intended to heal nevertheless has absorbed the sourness and infection of what it’s supposed to heal.
• Major change as Ariel sings “Where the bee sucks.” This is the true healing & awakening music, each being returning to own essential form. Some commonalty with “Full fathom five” in sense of intense transformation. Ariel is singing of his own freedom, and this is itself an instrument of liberation.
• End of song, segue to new island ambiance. Again, there’s a series of swoops by the figures into new pictures—sound underpinning this movement.
• At “require my dukedom of thee,” a Spirit appears, takes medallion from Antonio’s neck, puts it on Prospero. Music underlining this. Island ambiance continues.
• Appearance of Miranda & Ferdinand: new music, luminous, miraculous, like the statue’s rebirth in Winter’s Tale. Establishes fully at their appearance, then fades behind but continues till Gonzalo’s speech.
• New music at Gonzalo, romantic but less melodic, more stately.
• Entrance of clowns: reiteration of their theme.

• Caliban theme as Prospero speaks of him and to him. Relate it somehow to Prospero himself: almost as if Prospero’s looking in a mirror and seeing Caliban.
• Boatswain entry: maybe an element of wind, something giving us the sense of imminent journey.
• Freeing of Ariel: a preparation, then something suggesting a departing bird cry.

Epilogue/Curtain Call

• Prospero speaks quietly and quickly. Maybe just a chord progression giving a sense of valedictory finality, but very quiet.
• A fade to black, but no hesitation: lights pop up and vigorous movement into call, with strong, pulsing music.

—Conrad