BY MICHAEL SOMMERS

NEWJERSEYNEWSROOM.COM

The Public Theater beautifully inaugurated its Public Works initiative over the weekend with a delightful musical romp through Shakespeare’s “The Tempest” that was staged with more than 200 performers for three showings at the outdoors Delacorte Theater in Central Park.

The Public’s initiative means to bring together community groups with professional artists in large-scale works -- and this adorable “The Tempest” certainly did that with charm and vitality. Little kids, seniors and scores of other New Yorkers of multitudinous skills and ethnicities contributed their talents and energy to “The Tempest” and they all appeared thrilled to be there.

Brightly conceived and directed by Lear deBessonet, the new 100-minute musical effectively roughs in Shakespeare’s saga of Prospero, a magician who maroons his old enemies upon his fantastical island.

The scenario, which uses shards of the Bard’s language and changes the gender of several characters, bounces along upon enjoyable tunes breezily composed by Todd Almond while it creates numerous opportunities for the different community arts groups to strut their stuff.

So the Kaoru Watanabe Taiko Ensemble pounds on drums during the stormy opening sequence and the Calpulli Mexican Dance Company swirls its ruffles through the banquet scene. Members of the NYC Taxi Workers Alliance make a cameo spin during the show along with appearances by a gospel choir, a brass band and several other arts troupes.

Chase Brock nicely incorporates the various organizations’ styles into his diverse choreography, which moves around large numbers of people with ease and a swirling sense of flow.

Amid the masses, who are colorfully garbed by designer Paul Carey in modern motley, some top-tier professionals depict the leading figures. Norm Lewis offers a soulful yet velvety musical presence as Prospero. Carson Elrod wittily writhes around as the seething monster Caliban. Laura Benanti croons across a shimmering anthem as a goddess.

A lanky, lively Todd Almond, whose score is as zesty as a margarita, contributes a creamy voice and a casually gay attitude as a crowd-pleasing Ariel who emcees the show.

Almond’s high spirits and sense of fun is mirrored in deBessonet’s airy, exuberant production, which sticks to the lighter side of Shakespeare’s story. The magic in the musical is generated by the obvious enthusiasm of the community performers.

Let’s hope that “The Tempest” returns next summer for a longer sojourn in the park.