Although the magic of The Tempest creates an opportunity to celebrate the unique alchemy that comes from the interaction of performers and audience, particularly after the COVID-19 pandemic forced an 18-month pause in live performance, I knew from the start that if we were going to do this play we had to address its problematic elements. The pandemic provided space and time for theatres to think about their impact in national conversations about race, power, and representation, and to begin to address harmful practices of the past. The work of NAU Theatre was no exception. Our Tempest used Shakespeare’s text to center the voices of the indigenous islanders, casting doubt on Prospero’s development throughout the story. We retained the magic of the text, but located it in the island itself—a place “full of noises” which eventually triumphs over the imported books from which Prospero derives his power. Inherent in this newly anti-colonialist story were the same moments of beauty, wonder, and humor that fill Shakespeare’s original tale, but our sympathies lay with the subjugated Caliban and Ariel rather than the aging Prospero. We added a prologue in which Caliban rescues the injured Prospero, and then gave the play's famous epilogue to Caliban rather than Prospero.