Two Plays in One

The Winter’s Tale

Nowadays, everybody’s looking for a bargain. And why not? When the price of everything, everywhere, from the gas pump to the grocery store, from restaurants, hotels and airlines to—well— everything in life, has soared to the stratosphere! This is also true for theatergoers. In many cases, box office prices have increased, as well. But there’s good news, especially for the Shakespeare aficionado. Come to Chicago Shakespeare Theatre to see the Bard’s lesser-known play, THE WINTER’S TALE. Guess what, audiences? You will get two plays in one!

Why is that? Well, the story is complicated. When THE WINTER’S TALE was first published in the 1623 First Folio, William Shakespeare’s five-act play was grouped with his comedies. Later, however, this “problem play,” as it’s been called, was lumped with the Bard’s later romances, along with “Cymbeline,” “Pericles” and “The Tempest.” The quandary comes from the perception that this play appears to be two plays in one.

Especially in Artistic Director Edward Hall’s production, Act I is very dramatic, psychologically gripping and almost depressing, that it feels like one of Shakespeare’s tragedies. But then, following a much-appreciated intermission during which the audience gets to decompress, the story continues with a very different second act. In Act II, theatergoers are suddenly transported to a colorful pastoral setting. Whereas Act I is cold, darkly lit and costumed formally in black, white and gray; Act II is warm, brightly lit, jubilant, almost bawdy, and filled with comedy and color. Then, lest the theatergoer settles complacently into this orgy of Dionysian and pastoral rock revelry, the script returns to the darkness for an ending that is both redemptive, happy and surprising.

Shakespeare drew inspiration for many of his characters, settings and plots from mythology. This play is no exception. THE WINTER’S TALE tells of a riff between Leontes (a powerful performance by Demetrios Troy) and Polixenes (portrayed with grace and dignity by the terrific Chike Johnson), two kings who’d been best friends since childhood. Without much provocation, jealousy suddenly consumes Leontes, and he accuses his Queen Hermione (beautifully portrayed with class and elegance by Jessica Dean Turner), pregnant with his second child, of treason and having an affair with his friend. He claims that the baby on the way actually belongs to Polixenes, but he sends his men to consult the Oracle to learn the truth.

The oracle doesn’t support Leontes’ suspicions, yet he arrests his Queen anyway, orders that his friend be murdered and the newborn baby girl taken away and left to die. Ultimately, both Hermione and Leontes’ son, Mamillius, tragically die of grief and shame. But Polixenes is warned by Leontes’ servant, Camillo (played by one of Chicago’s finest actors, Erik Hellman), to quickly flee the country. So the two men set sail for Polixenes’ home in Bohemia, a bucolic land known for its sheep.

When we rejoin the play for Act II, years have passed. Perdita (lovely and talented Felicia Oduh), Leontes’ abandoned daughter, has been rescued and raised by a kindly Old Shepherd (the always wonderful Kevin Gudahl). His son, called the Young Shepherd (an absolute winning performance by Dan Haller), is a simple-minded lad who, like his father and the entire kingdom of Bohemia, live for the revelry of the annual Sheep Sheering Festival. The kingdom comes alive with color and pastoral playfulness. It’s fun and festive, with the townsfolk mesmerized by a rock band with a lead singer named Autolycus (a hilarious and captivating performance by Chicago favorite, Sean Fortunato). King Polixenes and Camillo both attend in hilarious disguise, so as to observe the social life of his young son, Florizel (handsome and gifted actor, Estaban Ortiz-Villacorta). When he notices that the Prince is becoming too involved with Perdita, whom he believes to be a simple farmer’s daughter, the King attempts to separate them.

When, near the end of the play, everyone returns to the Court of a reformed and reborn King Leontes, the two kings become reunited, Perdita is taken in by her father, Florizel is given his father’s blessing to marry his friend’s daughter and a lifelike statue of Queen Hermione mysteriously comes to life. Thus, this “problem” play ends on a happier note than it began, with magic, reconciliation and forgiveness as the name of the game.

While the story isn’t completely satisfying, and the ending is especially strange, there’s a whole lot to enjoy and admire in Edward Hall’s production. First and foremost is the gifted cast, who leave everything on the stage in their portrayal of Shakespeare’s colorful and diverse characters. It should be noted that THE WINTER’S TALE and the upcoming production of A MIDSUMMER NIGHT’S DREAM will be playing in repertory at Chicago Shakespeare Theatre. The very same fourteen talented actors will be appearing in both productions, a move that mirrors how the Bard’s Elizabethan productions were presented. And since both plays are essentially fairy tales, they have a lot more in common than just the actors.

Many of the extraneous plot details and minor characters are cut from this production of THE WINTER’S TALE. The lengthy five-act play has been streamlined into a more contemporary two-act production. Hall has kept the story moving, taking enough time to focus on the most important events. Both Michael Pavelka’s scenic and costume design, with his simple and sparse look for Act I and a prismatic and picturesque setting for Act II, is elegant and spot-on. So are Pavelka’s costumes, which are dramatic and austere for the residents of Sicily, wildly colorful and whimsical for the festive Bohemians. The production is bathed both in sunshine and shadows, thanks to Marcus Doshi’s superb lighting design; and Kieran McCabe’s original musical compositions are especially fun. Emily Hayman’s sound design also adds a great deal of depth to this production, as well.

THE WINTER’S TALE is given a production that will appeal to theatergoers who are already fans of Shakespeare, but enjoy seeing his plays in a new light. It will also delight new audiences who are not already familiar with this “problem play” because it’s so seldom produced. But with his artistic valor and creativity, Edward Hall has modified Shakespeare’s script and directed a production that’s easily accessible for everyone. And, for those trying to save their pennies, remember that in THE WINTER’S TALE it’s as if you’re getting two plays for the price of one in this delightful new version of one of the Bard’s later romances.

Highly Recommended

Presented October 13-December 12 by Chicago Shakespeare Theatre, in the Courtyard Theatre, 800 E. Grand Avenue on Navy Pier, Chicago.

Tickets are available at the CST box office, by calling 312.595.5600 or by going to www.chicagoshakes.com.

Additional information about this and other area productions can be found by visiting www.theatreinchicago.com

Photos by Kyle Flubacker