Arias’ “The Tempest” in Catania: A Bold Interpretation Hampered by Cuts and Casting Choices
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A new production of shakespeare’s enduring classic, “The Tempest,” currently running at the Teatro Stabile di Catania, presents a visually striking but ultimately uneven interpretation under the direction of Alfredo Arias. Starring Graziano Piazza as Prospero, the production, which debuted this summer at the Arena di Verona, attempts a fresh take on the play’s themes of revenge, forgiveness, and the transformative power of art, but struggles to fully realize its ambitions.
A Masterpiece Demands Time and Depth
Dealing with a work as monumental as “The Tempest” is inherently challenging. As one observer noted, a true engagement with the play requires “an intelligence…equal to its conceptual density” and, crucially, “a fair and wide amount of time” for a director’s vision to coalesce into something meaningful. This production, though, a
the exiled duke of Milan turned island sorcerer. He embodies the character’s journey from a desire for retribution to a hard-won acceptance of peace and wisdom. Piazza’s portrayal is described as possessing “consummate craftsmanship” and “an extraordinary palette of colors and meanings,” skillfully navigating the many facets of Prospero’s character – magician,ruler,father,and ultimately,a figure seeking redemption.
The supporting cast includes Federico Fiorenza as Gonzalo,Fabrizio Indagati as Sebastiano,Franco Mirabella as Stefano,Marcello Montalto as Alonso,Luigi Nicotra as Antonio,Lorenzo Parrotto as Ferdinando,Alessandro Romano as trinculo,Rita Fuoco Salonia as Caliban,Rosaria Salvatico as Miranda,and Guia Jelo as Ariel.
conceptual Strength Undermined by execution
despite the strength of Arias’ overall design and Piazza’s central performance, the production suffers from several critical flaws. A primary concern is the adaptation of Shakespeare’s text, which, likely in an effort to maintain a runtime of approximately 90 minutes, feels “particularly cut, concise, [and] little respectful of the extraordinary dramaturgical complexity and the thematic richness of the masterpiece.”
Furthermore, the costume design, while aiming for a meta-theatrical freedom by blending influences from the elizabethan era, the 19th century, and commedia dell’arte, ultimately feels disjointed and unresolved. According to one assessment, the costumes “suggest freedom and meta-theatricality but, precisely, weakens the show by posing elements and problems which are then not really addressed in the visible dynamics of the show.”
Uneven Performances and Questionable Casting
While Piazza, Rita Salonia (as Caliban), and Alessandro Romano (as Trinculo) deliver compelling performances, the production is hampered by inconsistencies within the ensemble. Most notably, the casting of Guia Jelo as Ariel has drawn criticism.The reviewer suggests the choice is “inexplicable,” as Jelo’s “human and cultural dimension” is fundamentally at odds with the character’s traditionally ethereal and “airy, gentle lightness.” the decision to render Ariel as a female character is not the issue, but rather the perceived mismatch between the actress’s established stage presence and the demands of the role.
A Production of Potential, Ultimately Unrealized
“The Tempest,” adapted and directed by Alfredo Arias, ran at the Teatro Stabile di Catania’s Sala Verga from November 7th to 16th, 2025, with sets by Giovanni Licheri and Alida Cappellini, costumes by Daniele Gelsi, and lighting by Gaetano La Mela. While the production showcases moments of brilliance,particularly in Piazza’s performance and the evocative set design,it ultimately falls short of fully capturing the depth and complexity of Shakespeare’s masterpiece,hindered by a truncated text and some questionable artistic choices.
