LitCharts assigns a color and icon to each theme in Hag-Seed, which you can use to track the themes throughout the work.
Theater and The Tempest
Vengeance
Imprisonment and Marginalization
Transformation and Change
Grief
Summary
Analysis
Now, there’s only five weeks left until Tony and Sal arrive at the prison and Felix’s plan either succeeds or fails. He can feel them growing closer in their political orbit of attending parties, giving interviews, and arranging photo ops. He still follows their activities on the Internet, and relishes the thought that they never think of him and have no idea what’s going to happen to them.
Much of Felix’s revenge has to do not with altering the material circumstances of his enemies, but feeling more powerful than them. Even though he hasn’t actually done anything yet, he already feels that he’s getting back at Tony and Sal.
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But right now, the show is nowhere near ready. Some goblins have quit, and scuffles have broken out when Felix was distracted. He only has a few scenes on video, and the keyboard he ordered hasn’t arrived yet. It’s hard to create the music score when the prisoners can’t use the internet. Meanwhile, WonderBoy has indeed tried to seduce Anne-Marie; after she rebuffs him, he performs his scenes sulkily.
WonderBoy’s long sulk is a comic demonstration of the extent to which, just as theater can influence the real world, offstage events have much to do with the way a production shapes up.
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Almost everyone is flubbing their lines; in his old life Felix would berate his actors for these kinds of mistakes, but he knows he can’t behave so erratically with these vulnerable men. Instead, he reminds them that they have talent and can produce better work. While he does this, he worries about the play’s missing energy.
Even though Felix views the prisoners’ “vulnerability” as a limitation on what he can accomplish right now, it’s actually making him into a less volatile and more sensitive director.
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During the morning coffee break, SnakeEye and Anne-Marie approach him to say that the Antonio team has composed a rap to tell the play’s backstory, which he wants to use instead of a speech by Prospero widely considered long and boring. Ruefully, Felix thinks that SnakeEye is cutting him out of the play, just as Antonio does to Prospero. Still, he agrees to hear the number.
It’s interesting that even offstage, the prisoners start to take on the roles they’ve been assigned within the play. The one person who completely transcends her role is Anne-Marie, who takes charge of the play, while Miranda is largely passive within it.
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The team gets into a formation and, on Anne-Marie’s signal, launches into an aggressive and rhythmic dance. Felix is impressed. SnakeEye begins the rap, which tells the story of Prospero’s exile from the point of view of “Evil Bro Antonio.” According to Antonio, Prospero was “a fool” who didn’t “watch his back,” thus allowing Antonio to claim the kingdom for himself.
Clearly, SnakeEye identifies with the play’s villain and rationalizes Antonio’s behavior—just as Felix wants to use the production to punish Tony, his real-life Antonio. At the same time, SnakeEye is expressing his feelings through poetry, a departure from his swaggering persona and thus a moment of personal growth.
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After finishing the rap, everyone looks hopefully at Felix. The routine is excellent—in fact, it’s so much better than Prospero’s speech that Felix wants to “throttle” SnakeEye. Anne-Marie says warmly that the scene is a “keeper” and, in a whisper, accuses Felix of being jealous; she has an uncanny ability to know what he’s thinking.
Just as he resents Tony’s success, Felix envies SnakeEye’s fresh performance; however, he’s more willing to be overshadowed by the prisoner, which reflects both the growing generosity of his own character and the fact that SnakeEye’s work is positive and collaborative, while Tony’s machinations are totally self-centered.
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SnakeEye suggests that, after his rap, Prospero perform the end of his speech, in which he describes how his love for Miranda preserved him through his darkest days—a particularly resonant passage for Felix. Many of the prisoners have children, and SnakeEye wants to superimpose their pictures onto the sky during this part of the speech; 8Handz can make them flash on the screen like starts. Shyly, SnakeEye asks if Felix wants to include any pictures of his own in the montage. Felix thinks of his treasured photo of Miranda, but sharply retorts that he has nothing to add. Stumbling into one of the small classrooms, he collapses on a bunk, head in his hands.
Even though Felix has become so invested in the prisoners, he balks at sharing anything personal with them—even as their separation from beloved children reflects the extent to which he and they face similar challenges. While Felix’s detached and scholarly persona usually helps him grow into a better man, here it prevents him from forging a deeper connection with his students or acknowledging his grief in a productive way.