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| This is the Goddesses' Song from the April-May 2002 indoor repeat production by Pulse of _The Tempest_ with a different cast. The Goddesses singing this song are: Noelle Teagno as Iris, Jennifer Stuckert as Ceres and my wife Linda Past as Juno. |
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Credits: Joseph Pehrson |
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| This is Full Fathom Five as sung by the Ariels in the April-May 2002 production of _The Tempest_ by Pulse Ensemble Theatre. This was a repeat indoor production of the Summer 2001 outdoor version with a different cast. The Ariels in this song are #1: Joy Jones, #2: Leslie Jones, #3: Ellen Haynes |
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Credits: Joseph Pehrson |
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| This is _Where the Bee Sucks_ from the April-May 2002 indoor production of _The Tempest_ by Pulse Ensemble Theatre. This is sung by the three Ariel's: Joy Jones, as Ariel 1, Leslie Jones as Ariel 2, and Ellen Haynes as Ariel 3. |
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Credits: Joseph Pehrson |
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| Well, here is drunken Stefano again in the indoor 2002 repeat Pulse production as played by Nicholas Pelczar. The tune is actually _Sellinger's Round_ by William Byrd. |
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Credits: Joseph Pehrson |
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| This is Iris' Song from the April-May 2002 indoor production by Pulse of _The Tempest._ Noelle Teagno sings Iris in this production. However, we added two other harmony parts this time, as sung by Ceres, played by Jennifer Stuckert and Juno, played by my wife Linda Past. |
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Credits: Joseph Pehrson |
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| Here is the original song for the "Goddesses" as sung by Iris, played by Elaina Wahl, Ceres as played by Amy Dickenson and Juno, played by my wife Linda Past. Ambient sound in this outdoor courtyard production. |
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| Here is Kurt Uy as Stefano singing his song. Why all the laughter? Stefano's a drunkard who mimics "relieving himself" with, fortunately, his back to the audience. Ambient sound galore in this outdoor courtyard performance... |
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| Here is a recording of Sandy York as Ariel and her two nymph assistants, Megan Bienstock and Sarah Scott singing Full Fathom Five. This is an outdoor courtyard production, hence ambient sound... |
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| This is an original tune for the end of the "goddess scene." It's sung by Elaina Wahl, playing Iris. At the end, Prospero disperses the festivities with some strange sounds. Ambient noise galore in this outdoor production. |
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| Here Ariel, played by Sandy York, gives a buzz with this tune. Ambient sound galore in this outdoor production. |
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| For a magic banquet with dancing shapes. The musical "highpoint" for me, I believe. (Original) |
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| This music, to be of somewhat an "ethereal" nature is a reworking of John Dowland's _Sir John Souch's Galliard |
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| Well, here Prospero, magic god of the sea and air, is stirring things up with a "hypno-drone..." |
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| Ariel, the sprite, enters to the tune of William Byrd's _John Come Kiss Me Now_... |
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| Miranda, the "love interest" and Prospero's daughter, is awakened by him to the tune of John Dowland's _Master Piper's Galliard_. |
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| Ariel, the sprite, leads people in with this. This one I wrote myself, since nothing historical was quite appropriate. |
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| This song is sung by the sprite Ariel and her assistants. Everybody writes a _Full Fathom Five_ for _The Tempest_. Here is mine. |
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| Here Alonso, Antonio, Sebastian, Gonzolo, Francisco... basically all the noblemen, come plodding in. They were shipwrecked on a strange island. They are not "happy campers." |
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| Here Ariel casts a spell and several of the noblemen go to sleep. This proves to be dangerous in the Renaissance! People were either "ripped off" or killed in that state sometimes... |
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| Stephano is a rather earthy drunkard in this play, and his music is an adaptation of William Byrd's _Sellinger's Round._ |
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| The Pulse Ensemble Theatre production of _The Tempest_ ends with suspenseful music. I used John Dowland's _Lachrimae Pavan_. |
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| Here our two "love protagonists" are hitting it off and hauling logs around. The music is upbeat and is Thomas Morley's _Goe from my window_. |
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| Our drunken Renaissance "Three Stooges" enter to appropriate original music. |
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| Ariel enters again to a warped variant of William Byrd's _John come kisse me now_. |
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| Well, the opulent banquet disappears. Well, that would be enough to make anybody sad. The music is the _Melancholy Galliard_ by John Dowland. |
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| This music closes out the banquet scene. It's John Dowland's _Master Piper's Galliard_. |
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| In the Pulse Ensemble Theatre production, the costumes and lighting were so spectacular that I had to go back and write entrances for all the goddesses. This is Iris' entrance. |
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| The goddess Ceres enters. |
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| Goddess Juno enters (my real wife in this production)... |
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| This is really the "biggest" musical number of the show...with the goddesses marching around and singing this original tune to 3-part harmony. |
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| Ariel enters with glittering clothing which is hung on a line to "distract" the villains. Music is, again, William Byrd's _Jhon come kisse me now_. |
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| Prospero unleashes wild dogs agains his potential enemies. "Devilish" music (original). |
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| A solemn air is called for by Prospero, who is coming into his own by the end of the play. Music is John Dowland's _Melancholy Galliard_. |
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| Everybody who writes a _Tempest_ must write a "Where the Bee Sucks..." This is mine. |
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| Our "love interests" Ferdinand and Miranda are found behind a curtain where they have been playing chess. At least that's what we *think* they have been doing... |
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| Ariel, the captive sprite, is about to be made free, so gets a "suspense music..." The tune is, again, John Dowland's _Lachrimae Pavan_. |
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| Magic chords signal the ending of the play, after Prospero's epilogue. His power has been restored. |
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