`Tempest' in park deserves applause.

Byline: The Register-Guard

Dear editor,

The Free Shakespeare in the Park project deserves a hearty congratulations for this summer's production of "The Tempest."

As the name implies, this production is free to the public, performed on a bare stage at the bottom of a hill near the Amazon Community Arts Center. Under such conditions, one might expect a scaled-down or truncated version of one of Shakespeare's most lavish plays, and one highly dependent on spectacle. This was not the case.

Producing director Sharon Joy Mann manages to substitute sound and impression for special effects, and utilizes music and dance to great advantage-crashing symbols stand in for the opening storm, and just a few flute notes signify a magical spell. The small bare stage proves island enough for this production, which draws your imagination in through judicious use of costume, sound and dance.

The success is also due to the performers, who made a uniformly fine showing under imperfect conditions, having to deliver delicate verse over dogs barking, planes overhead, etc.

As Prospero, Jerry Ferraccio carries the whole of the play with an ease bordering on elan, giving Shakespeare's magician authority, purpose and compassion. Miranda, played by Sarah Hurwitt, makes a fine young heroine.

Peter Holden (Stephano) and Bob Glasser (Trinculo) are quite funny, and both men also took dual roles. Harry Stuart deserves great credit as Caliban, giving the monster both lyricism and indignity, while playing the comic scenes with honesty.

Special mention must also be given to Claire Kouba, Kendra McWilliams and Thea Garrett, who collectively play the noble spirit, Ariel - these young actresses perform virtually as one, often speaking in union, often expressing conflicting ideas or emotions as three aspects of the same character. In costumes symbolizing three basic elements - air, water, and fire - these performers integrate music, dance and mime to cast their magical spells over the whole production.

This production also deserves praise for its combination of straightforward staging and innovative casting. While actresses have played Ariel before the choice of three very young artists as varied aspects of the spirit is daring and effective. A few other traditionally male characters are also played by women, perhaps most notably Gonzalo and Antonio, and these actresses acquit themselves so well that we quickly accept them for their characters.

The play is trimmed handsomely to under two hours, with no loss of narrative, and only purists might object to the absence of the goddess pageant.

RICHARD CHANDLER 

Springfield