William Shakespear's works are famous for a number of reasons, not least of which being the wonder and mysticism that he incorporates into so many of his stories. They are also famous for how incredibly vague the stage directions are. While this is often frustrating for readers and performers, the lack of direction often leads to interesting twists as directors make decisions about how they wish to interpret the play. His final play, The Tempest, is no exception, utilizing themes of magic not only in the spirits that drift across its pages, but also through the exposition describing Sycorax's witchcraft and Prospero's capabilities that he learned from his books. Just like as in his other plays, Shakespear refused to give much in terms of stage cues and directions were not recorded. Thus was born not only one of his most popular plays, but also yet another opportunity for directors to run in a million and one directions with the play.

In her adaptation of The Tempest into movie form, Julie Taymor made several interesting decisions. Along with casting Helen Mirren in the role of Prospero and changing Prospero into the woman Prospera, Taymor decided to make this character's magic much more direct and evident to the viewers than the written play shows it to be. The effect of Taymor's decision to have Prospera performing her own works of magic rather than merely commanding Ariel to do all of the work as in the play leads to Prospera being a much more intimidating and powerful character than Prospero.

In the beginning of Julie Taymor's movie, actress Helen Merrin is introduced wearing a billowing cloak with staff in hand, shouting passionately and wordlessly at the tempest on the horizon (The Tempest 2011). This introduction of Prospera leaves the audience with no doubt as to who is controlling the massive storm. The image of Prospera creating such an intimidating force of nature provides an impressive show of power and immediately portrays Prospera as a competent and even dangerous magic-user.

In contrast, audiences of the written play are only aware that Prospero had any influence over the storm because Miranda suggested it (The Tempest 1.2.1-3). Had Miranda not explicitly stated that there was a possibility that Prospero had a hand in the creation of the storm, the audience would have merely assumed that the storm was a natural occurrence, and that the royal party being caught up in said storm was merely coincidence.

To further the idea that Prospero was not using his magic to influence this storm, Prospero later asks Ariel if the spirit has done as Prospero had told him to (1.2.194-195). Ariel replies, "To every article," (1.2. 196), and goes on to describe his actions upon the ship and crew (1.2.197-201). This conversation insinuates that Ariel is the power from which the storm sprung, and that Prospero was only the one making the commands. Because the audience does not see any clear display of power from Prospero, and because Taymor's movie does show a very clear display of power from Prospera, Helen Mirren's introduction of the character makes a much more powerful first impression than the original character in Shakespeare's writing.

Not long after Prospero discusses the storm with Ariel, Ariel states, "Let me remember thee what thou hast promised,/ Which is not yet performed me," (1.2. 243-244), speaking of the return of his freedom. In response, Prospero goes into a rage, recalling Ariel's previous enslavement to the witch Sycorax. Prospero eventually threatens Ariel, saying, "If thou more murmur'st, I will rend an oak and peg thee to his knotty entrails…" (1.2.296-297). This show of anger appears to quail Ariel of his momentary boldness, yet the reader cannot be certain as to why, as Prospero has thus far performed very little magic. Merrin's performance as Prospera, however, is much more frightening and convincing. Her coldly delivered threats are backed up by her display of power at the beginning scene; the audience has no room to mistake her statements as momentary fury or loss of control as they are apt to be interpreted as while reading the play. Whereas Prospero could be viewed as merely throwing a tantrum that his servant dare rebel against him, Prospera leaves no doubt in the minds of her viewers that she can and will follow through on her fearsome threats.

In act four Prospero finally accepts Ferdinand as a suitable husband for Miranda. To celebrate their union, Prospero summons the goddesses Iris, Ceres, and Juno to perform miraculous acts (4.1.60, 73, 76). Even here, however, Prospero does not appear to use any power of his own, but rather calls upon Ariel, commanding the spirit to "Go bring the rabble,/… Incite them to quick motion, for I must/ Bestow upon the eyes of this young couple/ Some vanity of mine art," (4.1.37-41). These lines explicitly show how Prospero uses Ariel to make himself look powerful in order to impress Ferdinand and Miranda. The audience, having knowledge of Ariel acting out the desires of his master, know the truth behind Prospero's feats of magic and understand better how much is actually his magic and how much is the manipulation of the "delicate Ariel," (4.1.48). The audience still has yet to see Prospero do anything other than make demands of Ariel and Caliban. In contrast to the character's actions in the original play, Helen Mirren's Prospera performs her own works of magic in celebration of Miranda and Ferdinand's engagement. Rather than having Ariel do her bidding or summoning some other spirits or goddesses, Prospera dons her robes and raises her staff, calling forth images of the cosmos and astrology. This show of power reinforces the audience's understanding of Prospera's power, whereas the character of Prospero in the written work remains only a vague threat with no proof to back up his claims of power.

The character of Prospera as portrayed by Helen Mirren is a force to be reckoned with, one with mighty powers and frightening capabilities. In contrast, one can easily interpret the character of Prospero as merely a manipulative slave-holder having little real power of his own. The lack of explicitly performed magic on the part of Prospero gives little credit to the threats and bouts of anger that he displays. There is no evidence to back up the constant references to his magic abilities, and the character gives the audience little reason to believe that Prospero would be able to do much magic at all without his servant Ariel, who is shown to be the true force behind the great feats that Prospero "performs". Julie Taymore's Prospera, however, is explicitly shown to be in control of not only the great tempest that shipwrecks the royal party, but also shown to be the source of the magical images shown to Ferdinand and Miranda. While Prospero commands his servant to perform magical feats for him and leaves the audience wondering if he has any powers of his own, Julie Taymor's Prospera leaves the audience with no doubts in their minds about who holds control of the powerful magic that is at work on the island.