HELLO GOOD LUCK! WHERE IS IT? The Durley Dean Hotel, 28 West Cliff Road, Bmth BH2 5HE. WHEN IS IT? Tues 6th and Weds 7th January 2015 from 7pm

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2 HELLO Thank you for taking the time to download the audition pieces for Brownsea Open Air Theatre s (BOAT) 2015 production of William Shakespeare s The Tempest. BOAT is one of the biggest theatrical projects in the south, annually performing on The National Trust s Brownsea Island in Poole Harbour, Dorset. These beautiful surroundings make for a wonderful show, and a fantastic evening of traditional Shakespeare. The company is professionally run, but all those involved with BOAT, whether on stage, backstage or front-of-house are unpaid volunteers. Since 1964 BOAT has involved over 1,400 volunteers, entertained 10 s of thousands of people and raised over 200,000 for the National Trust. Our auditions are open to anyone. If you are thinking of auditioning we would ask you to read through all the information on the following pages - this will help give you an overview and understanding of what is expected of you should you get a part in the 2015 production. Each production takes many months to prepare each year, but it is an experience that the cast, crew and audience remembers for a long time, and relishes coming back year after year. We hope you can be part of it! WHEN IS IT? Tues 6th and Weds 7th January 2015 from 7pm WHERE IS IT? The Durley Dean Hotel, 28 West Cliff Road, Bmth BH2 5HE GOOD LUCK! CHINE CRESCENT P DURLEY ROUNDABOUT W CLIFF RD DURLEY GARDENS DURLEY DEAN HOTEL

3 KNOW WHAT YOU RE GETTING INTO Performing on Brownsea Island is a unique and wonderful experience, but it does require a big commitment from its cast - from the initial readthrough all the way through to the dismantling of the set once the production is finished. Please read the following before deciding to audition... Brownsea Open Air Theatre s The Tempest Production Dates: 22nd July - 7 August 2015 Directed by Neil Mathieson Rehearsals Rehearsals will run 3 times a week (Monday, Wednesday and Thursday) from Mid-April. Whilst you won t be called for all early rehearsals you should be available for every date. Mid-April/May/June - Kinson Rehearsals: 7-10pm July - Brownsea Island Rehearsals: 7-10pm* (Cast/Crew Ferry leaves from Sandbanks at 6pm) July - Brownsea Island Tech Week: 7-11pm* (Cast/Crew Ferry leaves from Sandbanks at 6pm) You are responsible for getting to and from rehearsals at Kinson, and to the ferry point at Sandbanks by 5:50pm once rehearsals move to Brownsea Island. Cast Members As a cast member you are expected to: Turn up to every rehearsal you are called for. And on time. Take direction and write notes. Learn your lines by an agreed point in rehearsals. Help with set build. Help build props, where necessary. Help dismantle the set. Help publicise the show. STILL INTERESTED? THEN READ ON, FELLOW ADVENTURER, READ ON. * Please note that once we get to the island rehearsals our ferry won t be back on to the mainland until 10:30pm (and 11:30pm during the week of Technical). Please take this into account if you are thinking of auditioning - particularly if you live some distance away.

4 SO WHAT S THE TEMPEST ABOUT THEN? ALONSO, the king of Naples, is returning from his daughter s wedding in Tunis. He is accompanied by his son, FERDINAND, his brother, SEBASTIAN, and ANTONIO, the Duke of Milan. An old Milanese courtier, GONZALO, is also on board. The ship is wrecked in a storm and all the passengers and crew are thrown into the sea. PROSPERO, the former Duke of Milan, and his daughter, MIRANDA, are watching the shipwreck from an island. He tells her, for the first time, how they came to be on the island. Twelve years before, when he had been Duke of Milan, his brother Antonio, had usurped him, but with Gonzalo s help he had escaped in a small boat with his baby daughter, Miranda, and his books of magic. They ended up on the island where Prospero turns the only inhabitant, CALIBAN, a deformed and savage creature, into his slave. There are also spirits on the island. One of them, ARIEL*, had been imprisoned in a tree trunk by Caliban s mother, the witch, Sycorax, who had then died. Prospero used his magic abilities to rescue her and he made the spirit swear to serve him. The ship s passengers are cast up on the island unharmed, and even their clothes are not wet or damaged. Alonso believes his son to be dead but Ferdinand has landed on another part of the island. He encounters Miranda and they fall in love at first sight. He is the first man, apart from her father and Caliban that she has ever seen. Prospero puts Ferdinand to work manually, controlling all his movements with magic. Ariel pesters Prospero for her freedom and Prospero promises it once she has done some things for him, regarding the newcomers. Ariel leads the party towards Prospero s cell. During this journey Antonio and Sebastian plan to kill Alonso so that Sebastian can be king. Two other members of the party, TRINCULO, the court jester, and STEPHANO, a butler, are also wandering about on the island. Caliban recruits them to help him overthrow Prospero. They all get drunk then set off for Prospero s cell. Ariel reports the plot to Prospero. Prospero has released Ferdinand and given his blessing to the marriage of the two young people. Prospero conjures up a Masque (involving spirits performing as 3 GODDESSES) in celebration of the couple. When the three would-be usurpers arrive at his cell they are distracted by some brightly coloured clothes that have been hung out for them, then they are chased away by a band of spirits who have taken on the form of dogs. Ariel brings the King s party to the cell. Prospero renounces his magic and appears before them. He forgives his brother and prepares to return to Milan to resume his dukedom. Miranda and Ferdinand are betrothed. Sailors arrive and announce that the ship hasn t been wrecked after all, and is safely anchored off the island. Ariel is set free. Caliban and the drunken servants are also forgiven. There is a final celebration of their reunion. *PLEASE NOTE THAT ARIEL WILL BE A FEMALE PART IN THIS PRODUCTION. All CHARACTERS IN BOLD are speaking parts.

5 THE AUDITIONS Where, when and what. Auditions take place on the 6th and 7th of January 2015 at The Durley Dean Hotel (BH2 5HE) from 7pm. On arrival you will asked to fill out a form (Name/Address/Part you re going for etc) which then gets passed onto the Audition Panel. There may be a bit of a wait to audition - depending on how many people turn up - so it s an ideal time to meet others involved with the production. Or just schmooze. Plus there s a bar. The Audition We know that auditioning is scary. Very scary. But we try and run fairly relaxed auditions - we promise that there are no Simon Cowells. Auditions take place in a separate room - so there s no auditioning in front of anyone else. If you fluff up, or stumble, it s ok - we take into account the nerve factor. If you want to start again, that s not a problem either. Our goal is to make you feel you ve shown us the best that you can do. THERE IS NO NEED TO LEARN THE LINES BY HEART, UNLESS YOU WANT TO - BUT IF YOU NEED A PROMPT WE WILL GIVE IT. With the exception of Miranda, ages are a guideline only. If you are older/younger and want to audition for a particular part please do. CHORUS/ NON-SPEAKING PARTS If you don t fancy learning any lines there are plenty of fun non-speaking parts (ships crew and islanders) in this production. These are open to anyone - any age (16+), any shape, and any gender. Please come to auditions and make yourself known, BUT please note being in the chorus is just as big a commitment timewise, as any other part. AND SO, ONTO THE AUDITION PIECES...

6 1 THE PROSPERO RIGHTFUL DUKE OF MILAN Age range : 45+ Prospero is a complex character - an intriguing mix of authority and vulnerability. First and foremost he s a loving father - sometimes overly protective, yet likeable and humorous. At times he can be vengeful and dangerous, switching emotion in the space of a sentence. He should be played as a down-to-earth, passionate, but ultimately flawed human being. From Act 5 Scene 1* Context of Speech: In this speech Prospero has made the decision to relinquish his powers once his plans have come to fruition. Prospero Ye elves of hills, brooks, standing lakes and groves, And ye that on the sands with printless foot Do chase the ebbing Neptune and do fly him When he comes back; you demi-puppets that By moonshine do the green sour ringlets make, Whereof the ewe not bites, and you whose pastime Is to make midnight mushrooms, that rejoice To hear the solemn curfew; by whose aid, Weak masters though ye be, I have bedimm d The noontide sun, call d forth the mutinous winds, And twixt the green sea and the azured vault Set roaring war: to the dread rattling thunder Have I given fire and rifted Jove s stout oak With his own bolt; the strong-based promontory Have I made shake and by the spurs pluck d up The pine and cedar: graves at my command Have waked their sleepers, oped, and let em forth By my so potent art. But this rough magic I here abjure, and, when I have required Some heavenly music, which even now I do, To work mine end upon their senses that This airy charm is for, I ll break my staff, Bury it certain fathoms in the earth, And deeper than did ever plummet sound I ll drown my book. Context of Speech: Prospero has agreed to nuptials between Ferdinand and his daughter... but with a caveat. Prospero Then, as my gift and thine own acquisition Worthily purchased take my daughter: but If thou dost break her virgin-knot before All sanctimonious ceremonies may With full and holy rite be minister d, No sweet aspersion shall the heavens let fall To make this contract grow: but barren hate, Sour-eyed disdain and discord shall bestrew The union of your bed with weeds so loathly That you shall hate it both: therefore take heed, As Hymen s lamps shall light you. SPEECH 3 From Act 4 Scene 1* From Act 4 Scene 1* Context of Speech: Prospero has angrily ended a Masque he was performing for Miranda and Ferdinand. This speech is tinged with sadness as Prospero accepts that things are coming to an end. Prospero You do look, my son, in a moved sort, As if you were dismay d: be cheerful, sir. Our revels now are ended. These our actors, As I foretold you, were all spirits and Are melted into air, into thin air: And, like the baseless fabric of this vision, The cloud-capp d towers, the gorgeous palaces, The solemn temples, the great globe itself, Ye all which it inherit, shall dissolve And, like this insubstantial pageant faded, Leave not a rack behind. We are such stuff As dreams are made on, and our little life Is rounded with a sleep. Sir, I am vex d; Bear with my weakness; my, brain is troubled: Be not disturb d with my infirmity: If you be pleased, retire into my cell And there repose: a turn or two I ll walk, To still my beating mind. 6

7 2 A CALIBAN SAVAGE AND DEFORMED SLAVE Age range : 25-40s but this is a physical role Like Prospero, Caliban is another complex character. He s a feral monster - insolent and rebellious at being enslaved by Prospero, but capable of delivering some of the most beautiful, descriptive passages in the play. His sense of grievance makes him angry, bitter and keen for retribution, but he is also subject to sadness, anguish and uncertainty. He is a very poor judge of character - he embraces and looks up to (seeing him as a replacement father figure) and is overly keen to please his new master. He is not to be played as a villain, but a product of nature. From Act 1 Scene 2* Context of Speech: Here Caliban complains that, whilst Prospero has taught him language and science, he has also enslaved him and dispossessed him of the island on which he was born. Caliban I must eat my dinner. This island s mine, by Sycorax my mother, Which thou takest from me. When thou camest first, Thou strokedst me and madest much of me, wouldst give me Water with berries in t, and teach me how To name the bigger light, and how the less, That burn by day and night: and then I loved thee And show d thee all the qualities o the isle, The fresh springs, brine-pits, barren place and fertile: Cursed be I that did so! All the charms Of Sycorax, toads, beetles, bats, light on you! For I am all the subjects that you have, Which first was mine own king: and here you sty me In this hard rock, whiles you do keep from me The rest o the island. Context of Speech: This speech is Caliban s explanation to and Trinculo of the magical, mysterious music that they hear surrounding them. Caliban Be not afeard; the isle is full of noises, Sounds and sweet airs, that give delight and hurt not. Sometimes a thousand twangling instruments Will hum about mine ears, and sometime voices That, if I then had waked after long sleep, Will make me sleep again: and then, in dreaming, The clouds methought would open and show riches Ready to drop upon me that, when I waked, I cried to dream again. SPEECH 3 From Act 3 Scene 2* From Act 2 Scene 2* Context of Speech: Caliban has mistaken and Trinculo for Gods. He vows to serve them and resolves never to serve Prospero again. Caliban I ll show thee the best springs; I ll pluck thee berries; I ll fish for thee and get thee wood enough. A plague upon the tyrant that I serve! I ll bear him no more sticks, but follow thee, Thou wondrous man. I prithee, let me bring thee where crabs grow; And I with my long nails will dig thee pignuts; Show thee a jay s nest and instruct thee how To snare the nimble marmoset; I ll bring thee To clustering filberts and sometimes I ll get thee Young scamels from the rock. Wilt thou go with me? 7

8 3 AN ARIEL (F) AIRY SPIRIT Age range : 20-40s Gender: Female but this is a physical role Ariel is a loyal, delicate and compassionate spirit. Whilst eager to be free, Ariel is still obedient and approaches her tasks with enthusiasm. She is, however, prone to bouts of petulance from time to time. From Act 2 Scene 1* Context of Speech: In this speech Ariel explains to Propspero that she has performed all that was asked of her - she helped with the great storm that caused the ship to wreck. Ariel 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 her quality. Prospero Hast thou, spirit, Perform d to point the tempest that I bade thee? Ariel To every article. I boarded the king s ship; now on the beak, Now in the waist, the deck, in every cabin, I flamed amazement: sometime I d divide, And burn in many places; on the topmast, The yards and bowsprit, would I flame distinctly, Then meet and join. The fire and cracks Of sulphurous roaring, the most mighty Neptune Seem to besiege and make his bold waves tremble, Yea, his dread trident shake. From Act 3 Scene 3* Context of Speech: Ariel appears as an angry Harpy before the King s company pronouncing judgement on them for their sins and their part in usurping Prospero. Ariel You are three men of sin, whom Destiny, That hath to instrument this lower world And what is in t, the never-surfeited sea Hath caused to belch up you; and on this island Where man doth not inhabit; you mongst men Being most unfit to live. I have made you mad; And even with such-like valour men hang and drown Their proper selves. Alonso and Sebastian draw their swords You fools! I and my fellows Are ministers of Fate: the elements, Of whom your swords are temper d, may as well Wound the loud winds, or with bemock d-at stabs Kill the still-closing waters, as diminish One dowle that s in my plume: my fellow-ministers Are like invulnerable. If you could hurt, Your swords are now too massy for your strengths And will not be uplifted. But remember-- For that s my business to you--that you three From Milan did supplant good Prospero; Exposed unto the sea, which hath requit it, Him and his innocent child: for which foul deed The powers, delaying, not forgetting, have Incensed the seas and shores, yea, all the creatures, Against your peace. Thee of thy son, Alonso, They have bereft; and do pronounce by me: Lingering perdition, worse than any death Can be at once, shall step by step attend You and your ways; whose wraths to guard you from-- Which here, in this most desolate isle, else falls Upon your heads--is nothing but heart-sorrow And a clear life ensuing. 8

9 4 DAUGHTER MIRANDA TO PROSPERO Age range : 16-25yrs Gender: Female Miranda is a bright-eyed, energetic, spirited and intelligent character. Raised by her father, she has never seen another woman. She is headstrong and a bit tomboyish, yet compassionate, innocent and kind. She lacks social graces, and is prone to a bit of teenage awkwardness around Ferdinand. From Act 1 Scene 2* Context of Speech: Miranda and Caliban have a contentious relationship, due to Caliban s failed attempt to rape her. In this speech Miranda rebukes Caliban for the hatred he expresses towards her father. Miranda Abhorred slave, I pitied thee, Took pains to make thee speak, taught thee each hour One thing or other: when thou didst not, savage, Know thine own meaning, but wouldst gabble like A thing most brutish, I endow d thy purposes With words that made them known. But thy vile race - Though thou didst learn - had that in t which good natures Could not abide to be with; therefore wast thou Deservedly confined into this rock, Who hadst deserved more than a prison. Context of Speech: Miranda sees Ferdinand, who is searching for his father, for the first time. He is the third man she s ever seen. She is instantly fascinated, curious and smitten with him. Prospero The fringèd curtains of thine eye advance And say what thou see st yond. Miranda What is t? a spirit? Lord, how it looks about! Believe me, sir, It carries a brave form. But tis a spirit. Prospero No: it eats and sleeps and hath such senses As we have, such. This gallant which thou seest Was in the wreck: and, but he s something stained With grief thou mightst call him A goodly person: he hath lost his fellows And strays about to find em. Miranda I might call him A thing divine, for nothing natural I ever saw so noble. SPEECH 3 From Act 1 Scene 2* From Act 1 Scene 5* Context of Speech: In a self-conscious exchange, Miranda, having had very little experience with people, tries to tell Ferdinand that she likes him. Very much. Miranda I do not know One of my sex; no woman s face remember, Save from my glass, mine own: nor have I seen More that I may call men than you, good friend, And my dear father: how features are abroad, I am skilless of; but, by my modesty The jewel in my dower I would not wish Any companion in the world but you, Nor can imagination form a shape, Besides yourself, to like of. But I prattle Something too wildly and my father s precepts I therein do forget. YOU MUST BE TO AUDITION FOR THIS PART 9

10 5 SON FERDINAND TO THE KING OF NAPLES Age range: 18-30yrs Ferdinand shares similar characteristics as Miranda. He too is a bright-eyed innocent, an energetic, optimistic and affable character. Honest, kind, and good natured he is respectful of his elders, yet he is prone to displays of faux bravado, shyness and awkwardness around Miranda. He is not a brash and confident young man. From Act 3 Scene 1* Context of Speech: Ferdinand is lifting logs for Prospero. The manual labour doesn t bother him unduly, because as he puts it, his labours will lead to richer ends - the heart of Miranda. Ferdinand There be some sports are painful, and their labour Delight in them sets off: some kinds of baseness Are nobly undergone and most poor matters Point to rich ends. This my mean task Would be as heavy to me as odious, but The mistress which I serve quickens what s dead And makes my labours pleasures: O, she is Ten times more gentle than her father s crabbed, And he s composed of harshness. I must remove Some thousands of these logs and pile them up, Upon a sore injunction: my sweet mistress Weeps when she sees me work, and says, such baseness Had never like executor. I forget: But these sweet thoughts do even refresh my labours, Most busy lest, when I do i. Context of Speech: Ferdinand has just spotted Miranda for the first time and assumes she is a goddess or a spirit. Ferdinand Most sure, the goddess On whom these airs attend! Vouchsafe my prayer May know if you remain upon this island, And that you will some good instruction give How I may bear me here: my prime request, Which I do last pronounce, is O you wonder! If you be maid or no? Miranda No wonder, sir; But certainly a maid. From Act 1 Scene 5* Ferdinand My language! Heavens! I am the best of them that speak this speech, Were I but where tis spoken. Prospero How? The best? What wert thou, if the King of Naples heard thee? Ferdinand A single thing, as I am now, that wonders To hear thee speak of Naples. He does hear me: And that he does I weep. Myself am Naples, Who with mine eyes, never since at ebb, beheld The king my father wrecked. 10

11 6 A STEPHANO BUTLER Age range : 30+ but this is a physical role Acting: Comedy part Context of Speech: Caliban is trying to persuade to kill Prospero. As an extra sweetener Caliban points out that Prospero s daughter is very beautiful and will be able to take her for his wife... Is it so brave a lass? From Act 3 Scene 2* Caliban Ay, lord; she will become thy bed, I warrant. And bring thee forth brave brood. is an opportunistic and self-serving character. He is haughty and pompous character with a tendency to bully Trinculo. He thinks he s cunning but is, in reality, completely incapable of carrying out any plan. This character (like Trinculo) must be affable and likeable at all times despite his sometimes dubious actions. From Act 2 Scene 2* Context of Speech: The sight of Caliban amazes. At first he believes he is a monster with four legs and two heads. Caliban believes to be a spirit sent to torture him. Caliban Do not torment me: Oh! What s the matter? Have we devils here? I have not scaped drowning to be afeard now of your four legs; for it hath been said As proper a man as ever went on four legs cannot make him give ground ; and it shall be said so again while breathes at nostrils. Monster, I will kill this man: his daughter and I will be king and queen--save our graces!--and Trinculo and thyself shall be viceroys. Dost thou like the plot, Trinculo? Trinculo Excellent. Give me thy hand: I am sorry I beat thee; but, while thou livest, keep a good tongue in thy head. Caliban Within this half hour will he be asleep: Wilt thou destroy him then? Ay, on mine honour. Caliban The spirit torments me: Oh! This is some monster of the isle with four legs, who hath got, as I take it, an ague. Where the devil should he learn our language? I will give him some relief, if it be but for that. If I can recover him and keep him tame and get to Naples with him, he s a present for any emperor that ever trod on neat s leather. Caliban Do not torment me, prithee; I ll bring my wood home faster. He s in his fit now and does not talk after the wisest. He shall taste of my bottle: if he have never drunk wine afore will go near to remove his fit. If I can recover him and keep him tame; he shall pay for him that hath him, and that soundly. 11

12 7 A TRINCULO JESTER SPEECH 3 From Act 1 Scene 5* Context of Speech: Ariel has played a trick on, Trinculo and Caliban by throwing her voice to sound like Trinculo. During one of Caliban speeches Ariel shouts out that he s lying... Age range : 30+ but this is a physical role Acting: Comedy part Trinculo is a likable, but easily-persuaded comic character, who likes his drink and looks up to his friend. He and Caliban do not get along, and it causes tension, jealousy and fighting between the three. This character (like ) must be affable and likeable at all times despite his sometimes dubious actions. From Act 2 Scene 2* Context of Speech: Trinculo, is afraid of the elements. His solution to hide from the storm is to hide under Caliban s cloak (who is lying on the floor trying to hide). Trinculo Here s neither bush nor shrub, to bear off any weather at all, and another storm brewing; yond same black cloud, yond huge one, looks like a foul bombard that would shed his liquor. If it should thunder as it did before, I know not where to hide my head: yond same cloud cannot choose but fall by pailfuls. What have we here? A man or a fish? Dead or alive? A fish: he smells like a fish; a very ancient and fishlike smell; A strange fish! Were I in England now, as once I was, and had but this fish painted not a holiday fool there but would give a piece of silver: there would this monster make a man; any strange beast there makes a man. Legged like a man and his fins like arms! Warm o my troth! I do now let loose my opinion; hold it no longer: this is no fish, but an islander, that hath lately suffered by a thunderbolt. Trinculo, run into no further danger: interrupt the monster one word further, and, by this hand, I ll turn my mercy out o doors and make a stock-fish of thee. Trinculo Why, what did I? I did nothing. I ll go further off. Didst thou not say he lied? Ariel Thou liest. Do I so? Take thou that. Beats Trinculo As you like this, give me the lie another time. Trinculo I did not give the lie. Out o your wits and hearing too? A pox o your bottle! This can sack and drinking do. A murrain on your monster, and the devil take your fingers. Thunder Alas, the storm is come again! My best way is to creep under his gaberdine; there is no other shelter hereabouts: misery acquaints a man with strange bed-fellows. I will here shroud till the dregs of the storm be past. 12

13 8 THE ANTONIO USURPING DUKE OF MILAN Age range : 30+ Prospero s brother, Antonio is the Iago-type of this play. He is a charismatic and persuasive character, motivated by envy and ambition for himself and his friends. Even at the end of the play he is unrepentant of his crimes. From Act 2 Scene 1* Context of Speech: With the King s son Ferdinand presumed dead, and Ferdinand s sister thousands of miles away, Antonio tries to convince his friend Sebastian to kill his brother, The King of Naples and take the crown. From Act 2 Scene 1* Context of Speech: Sebastian questions Antonio about his conscience, as he himself gained his title by ridding himself of Prospero. Antonio is remorseless and continues to urge the killing of the King and Gonzalo... Sebastian But, for your conscience? Antonio Ay, sir; where lies that? Here lies your brother, No better than the earth he lies upon, If he were that which now he s like, that s dead; Whom I, with this obedient steel, three inches of it, Can lay to bed for ever; whiles you, doing thus, To the perpetual wink might put This ancient morsel, this Sir Prudence, who Should not upbraid our course. For all the rest, They ll take suggestion as a cat laps milk; They ll tell the clock to any business that We say befits the hour. Antonio Then, tell me, Who s the next heir of Naples? Sebastian His sister Claribel. Antonio She that is queen of Tunis; she that dwells Ten leagues beyond man s life; she that from Naples Can have no note. She that from whom We all were sea-swallow d, though some cast again, And by that destiny to perform an act Whereof what s past is prologue, what to come In yours and my discharge. Sebastian What stuff is this! Tis true, my brother s daughter s queen of Tunis; So is she heir of Naples; twixt which regions There is some space. Antonio A space whose every cubit Seems to cry out, How shall that Claribel Measure us back to Naples? Keep in Tunis, And let Sebastian wake. Say, this were death That now hath seized them; why, they were no worse Than now they are. O, that you bore The mind that I do! What a sleep were this For your advancement! Do you understand me? 13

14 9 BROTHER SEBASTIAN TO THE KING OF NAPLES Age range : 25+ From Act 2 Scene 1* Context of Speech: Sebastian has decided to follow Antonio s example and usurp his brother to become King. They decide to kill the King and Gonzalo whilst they sleep. Sebastian Thy case, dear friend, Shall be my precedent; as thou got st Milan, I ll come by Naples. Draw thy sword: one stroke Shall free thee from the tribute which thou payest; And I the king shall love thee. Sebastian is not an evil character, he has a conscience and knows right from wrong, but is cowardly and easily perusaded into a treacherous plot for the crown made by Antonio. He is angry with his brother, the King, for taking them on the sea voyage, despite the King being advised against it. From Act 1 Scene 5 From Act 2 Scene 1* Context of Speech: Sebastian berates King Alonso (his brother) that it is the King s fault he lost his son, since the sea voyage to his daughter s wedding in Africa was advised against. Sebastian Sir, you may thank yourself for this great loss, That would not bless our Europe with your daughter, But rather lose her to an African; Where she at least is banish d from your eye, Who hath cause to wet the grief on t. Alonso Prithee, peace. Sebastian You were kneel d to and importuned otherwise By all of us. We have lost your son, I fear, for ever: Milan and Naples have More widows in them of this business making Than we bring men to comfort them: The fault s your own. 14

15 10 THE KING ALONSO KING OF NAPLES 11 AN GONZALO HONEST OLD COUNCELLOR Age range : 45+ Acting: Dramatic part Age range : 50+ The King spends the majority of the play despondent and bereft at the loss of his son. Whilst he is usually a strong authority figure, grief has caused him to be insular and withdrawn, and prone to lashing out at those who are trying to console or help him. Gonzalo is the eldest, most affable and endearing of the King s party. Intelligent and genial, Gonzalo is humorous, kind and generally tries to keep spirits up. However he isn t a buffoon, and is quite prepared to speak his mind when necessary. He was and is a true friend to Prospero. Context of Speech: The King has lost his son in the storm and blames himself for taking everyone to his daughter s wedding in Tunisia. Gonzalo tries to give him hope, but the King doesn t believe him. Alonso You cram these words into mine ears against The stomach of my sense. Would I had never Married my daughter there! For, coming thence, My son is lost and, in my rate, she too, Who is so far from Italy removed I ne er again shall see her. O thou mine heir Of Naples and of Milan, what strange fish Hath made his meal on thee? Gonzalo Sir, he may live: I saw him beat the surges under him, And ride upon their backs; I not doubt he came alive to land. Alonso No, no, he s gone. From Act 2 Scene 1* From Act 3 Scene 3* Context of Speech: A terrifying harpy has appeared and pronounced judgement on them for their sins - accusing the King of his part in the usurping of Prospero. Alonso O, it is monstrous, monstrous: Methought the billows spoke and told me of it; The winds did sing it to me, and the thunder, That deep and dreadful organ-pipe, pronounced The name of Prosper: it did bass my trespass. Therefore my son i the ooze is bedded, and I ll seek him deeper than e er plummet sounded And with him there lie mudded. From Act 2 Scene 1* Context of Speech: In this speech Gonzalo daydreams about what he would do with his new island home as a part of a commonwealth, much to the amusement of Sebastian and Antonio. Gonzalo Had I plantation of this isle, my lord,-- And were the king on t, what would I do? Sebastian Scape being drunk for want of wine. Gonzalo I the commonwealth I would by contraries Execute all things; for no kind of traffic Would I admit; no name of magistrate; Letters should not be known; riches, poverty, And use of service, none; contract, succession, Bourn, bound of land, tilth, vineyard, none; No use of metal, corn, or wine, or oil; No occupation; all men idle, all; And women too, but innocent and pure; No sovereignty;-- Sebastian Yet he would be king on t. Antonio The latter end of his commonwealth forgets the beginning. Gonzalo All things in common nature should produce Without sweat or endeavour: treason, felony, Sword, pike, knife, gun, or need of any engine, Would I not have; but nature should bring forth, Of its own kind, all foison, all abundance, To feed my innocent people. 15

16 12 BOATSWAIN BOATSWAIN OF THE SHIP 13 IRIS, GODDESSES CERES AND JUNO Age range : 30+ Age range : 20-50s Gender: Female The boatswain s main and only concern is the safety of his ship and crew - the royal passengers aboard are a hindrance to him. At the end of the play he is respectful to the King and the rest of the shipwrecked party. Context of Speech: The Boatswain is trying to steer the ship through a giant storm and has no time for niceties with his royal passengers. Gonzalo Remember whom thou hast aboard. Boatswain None that I more love than myself. You are a counsellor; if you can command these elements to silence; use your authority: if you cannot, give thanks you have lived so long. Cheerly, good hearts! Out of our way, I say. From Act 1 Scene 1* From Act 5 Scene 1* Context of Speech: The Boatswain, having survived the storm, awakes to find that the ship is good as new. In this speech he has found the King and relays the news to him. Boatswain The best news is, that we have safely found Our king and company; the next, our ship - Which, but three glasses since, we gave out split - Is tight and yare and bravely rigg d as when We first put out to sea. The Goddesses are actually spirits of the island that Prospero and Ariel use to put on a play. They are likeable, larger than life, colourful characters. From Act 4 Scene 1* Context of Speech: Prospero is putting on a Masque (a play) for Miranda and Ferdinand. In it Iris (the messenger of the Gods) calls for the Goddess Ceres to join her. PLEASE NOTE this speech is the audition piece for all three goddesses Iris Ceres, most bounteous lady, thy rich leas Of wheat, rye, barley, vetches, oats and pease; Thy turfy mountains, where live nibbling sheep, And flat meads thatch d with stover, them to keep; Thy banks with pioned and twilled brims, Which spongy April at thy hest betrims, To make cold nymphs chaste crowns; and thy broomgroves, Whose shadow the dismissed bachelor loves, Being lass-lorn: thy pole-clipt vineyard; And thy sea-marge, sterile and rocky-hard, Where thou thyself dost air; -the queen o the sky, Whose watery arch and messenger am I, Bids thee leave these, and with her sovereign grace, Here on this grass-plot, in this very place, To come and sport: her peacocks fly amain: Approach, rich Ceres, her to entertain. 16

17 SEE ST THOU AT THE AUDITIONS!