Age: 66
male
Doug Jones (born May 24, 1960) is an American actor, contortionist, and mime artist. He is best known for performing in character roles, often portraying non-human creatures, usually via heavy make-up and visual effects. He has most notably collaborated with acclaimed filmmaker Guillermo del Toro, appearing in the films Mimic (1997), Hellboy (2004), Pan's Labyrinth (2006), Hellboy II: The Golden Army (2008), Crimson Peak (2015), and The Shape of Water (2017). Jones has also had roles in other films, including Hocus Pocus (1993) and its sequel (2022), Tank Girl (1995), The Cabinet of Dr. Caligari (2005), Fantastic Four: Rise of the Silver Surfer (2007), Absentia (2011), Ouija: Origin of Evil (2016), and The Bye Bye Man (2017). He has appeared in the science fiction series Falling Skies (2013-15) and del Toro's horror series The Strain (2014-16). From 2017 to 2024, he portrayed Saru in the science fiction series Star Trek: Discovery. From 2019 to 2023, he portrayed Baron Afanas in the vampire comedy show What We Do in the Shadows, appearing both with and without creature makeup. Description above from the Wikipedia article Doug Jones, licensed under CC-BY-SA, full list of contributors on Wikipedia.
The Tempest is a play by William Shakespeare, probably written in 1610–1611, and thought to be one of the last plays that Shakespeare wrote alone. After the first scene, which takes place on a ship at sea during a tempest, the rest of the story is set on a remote island, where the sorcerer Prospero, a complex and contradictory character, lives with his daughter Miranda, and his two servants—Caliban, a savage monster figure, and Ariel, an airy spirit. The play contains music and songs that evoke the spirit of enchantment on the island. It explores many themes, including magic, betrayal, revenge, and family. In Act IV, a wedding masque serves as a play-within-the play, and contributes spectacle, allegory, and elevated language. Though The Tempest is listed in the First Folio as the first of Shakespeare's comedies, it deals with both tragic and comic themes, and modern criticism has created a category of romance for this and others of Shakespeare's late plays. The Tempest has been put to varied interpretations—from those that see it as a fable of art and creation, with Prospero representing Shakespeare, and Prospero's renunciation of magic signaling Shakespeare's farewell to the stage, to interpretations that consider it an allegory of Europeans colonizing foreign lands.
