Compliments are due Riccardo Hernandez for scenic design, David Langer for lighting design and Acme Sound Partners and Jason Crystal for sound design, as well as others contributing to the spectacular ambience of the imaginative production.

The effects simulating a shipwreck at sea set the stage for an involving rendering of this difficult play, and with director Michael Greif creatively at the helm, the audience was being treated to one of the superior offerings under the auspices of the Public Theater, founded by the late Joseph Papp, who fought and won the battle for the right to stage Shakespeare in Central Park, a tradition followed ever since.

“The Tempest” in its present incarnation has the distinction of Sam Waterston playing the role of Prospero, outcast from his position as Duke of Milan and confined to the island where he exercises magical powers as we await resolution of the plot involving intrigue and eventual triumph. Waterston has long been a Public Theater favorite, and here he brings authority and impressive delivery of Shakespeare’s potent lines as he establishes the person and authority of Prospero, straightforwardly if not nuanced. It is a respectable performance and interpretation of the role that has challenged many an actor.

The other major casting is also successful. Chris Perfetti as Ariel, “an airy spirit,” magically speeds about the stage with the grace of a ballet dancer. Louis Cancelmi puts his own individual stamp on Caliban, “a savage and deformed slave.” He uses body distortions to help define the character and a guttural voice to further shape our vision of the creature who assumes special importance and communicates the play’s inherent message against anyone being enslaved or dominated.

Francesca Carpanini makes a delightful Miranda, Prospero’s naïve daughter, whom we must come to like. Carpanini and Rodney Richardson as Ferdinand, son of the King of Naples, strike just the right tone of attraction as they unite romantically, a relationship which we can enjoy as a warmer aspect of the play.

Other casting also works well, including Cotter Smith as Antonio, Prospero’s brother, who took over the Milan dukedom, and the assortment of characters filling roles ranging from villainous to comic relief.