Sometimes I think if you get the songs right you get the play right.
I love a matriarchal Prospero, it rings true. I also like that they maintained the name ‘Prospero’ in this version and didn’t worry about calling her ‘Prospera’.
Great balance of humor (every version I’ve seen of this that understands Ferdinand is a bit silly seems to be a good version) and the inherent melancholy of the play!
Like with Derek Jarmen and the Dewi Humphrey’s versions…