|
||
|
|
Peer Reviews The
Winter's Tale
This being my first exposure to The Winter's Tale, I was taken aback by the split nature of the play. For most of the evening, the audience is given an exploration of the dark side of the human heart; jealousy and rage are the order of the day. But after intermission, the play changes so dramatically in tone and texture that one might think some entirely different piece of theatre is underway. Leontes, the King of Sicilia, is tortured by jealousy over the attentions his pregnant wife, Hermione, receives from his friend, Archidamus, the King of Bohemia. He accuses the innocent queen of infidelity and sets in motion a sequence of events that result in the death of Hermione and the removal of the infant. Eventually he realizes his tragic mistake and we arrive at intermission. When the action picks up again, sixteen years have passed and we are introduced to several new characters, most notably the infant grown into a young woman, Perdita, before Leontes and Archidamus are brought to the stage for the eventual reconciliation and happy ending. Director Charlie Sexton stages the first portion in formal dress, with a grand opening set to The Blue Danube that makes good use of the elegant costumes. But the dark colors are emblematic of the deep, psychological currents that drive Leontes to destroy everything he loves. The play has been categorized as both a "comedy" and a "romance" in Shakespeare's canon, but these scenes run closer to the tone we find in his tragedies. As Leontes and Hermione, Adam Brown and Ali Burch are exceptional in conveying the tortuous heartbreak that results from such poisonous emotions. Ms. Burch has a refined quality that serves her well in playing such a noble, regal lady, and Mr. Brown's masterful handling of the language is crucial during this part of the play, which is weighted with long stretches of dialogue. The second half, introduced by a Chorus embodied with great pixyish charm by Madeline Marchal, finds their daughter living happily amongst shepherds. Here the dark colors of the first half are replaced by an explosion of color and flowing fabrics, and the stage is filled with joy and vibrant emotions expressed in part through dancing and singing by the cast. The contrast is striking. Of course, this being Shakespeare, a complicated series of plot twists eventually brings all misunderstandings to light and all sorrows to an end. Nary a false note was struck by the youthful cast. Jacob Lyle was an understated but effective Camillo; Aaron Morris made something special of the rogue, Autolycus, crafting the kind of con-man that leaves you thinking he's the main character, and Sami Siegwald brought a lot of spark and energy to her role as Clown. Mr. Sexton's pageantry was fully supported by the outstanding costumes by Laura Patterson, who ably provides both the glittering, formal atmosphere required for the first half and the free-spirited, hippie-like fashion of the second half. Carrie Nath's choreography was also crucial to the production, particularly in the opening sequence, wherein the movements of the central characters in the dance display the suspicions taking place in Leontes' mind.
The Winter's Tale Posted May 12, 2008
|
|