The Winter's Tale

November 2009

Reviews:

From Estuary News:

... The whole production is yet another jewel in the Estuary Player's crown...

The audience and I thoroughly enjoyed the recent Estuary Player's production of The Winter's Tale, which is an odd play, almost two plays in one, in which two of the central protagonists, Leontes and Hermione, disappear about half way through, only to be reunited in a happy ending after a tragic beginning. It has at turns been called a 'Romance', a 'Problem', a 'Tragi-Comedy', a 'difficult' play.

I think the play is problematic from a structural point of view and I'm not sure it really works, but there will be many who disagree. A recent RSC director points out, interestingly, that the arc of the drama is played out not wholly through Leontes and that change happens extrinsic to him, not psychologically through him (as in Lear, for example).

The play has had many different recent interpretations ranging from gender conflict (the male world of Sicilia versus the female dominated Bohemia) to the opposition of the rational enlightenment world of Sicilia and the Grimm's Fairy tale, subconscious world of Bohemia. The central themes of forgiveness and reconciliation, redemption, youth and age, the regenerative power of nature, supernatural intervention and the nobility of women are similar to those in three of his other late plays, Pericles, Cymbeline and The Tempest, the latter being the best in my opinion.

The Winter's Tale is not easy play to direct because of its narrative and tonal shifts, but Bill Pattinson's direction is sure with a clear production concept, setting the play in Edwardian England, and deft management of positioning and movement for a narrow thrust stage in Matthews Hall, Topsham, although I would have preferred the stage to be used as a different level (for example in the statue scene) and to frame the thrust with a clearer backdrop.

This fine production produced a magical evening for all those present and its director managed to coax some strong performances from his actors. I personally prefer the first half of the play to the second, but the 'comedy' worked particularly well here, even though I don't think some of Shakespeare's writing is his best and the pastoral elements can seem to drag a bit at times.

The guest appearance of Great Western Morris injected pace and bawdy humour into the action and the shepherds showed good comic timing in the pastoral scenes. It was so refreshing to see younger actors performing with such enthusiasm and skill, something which augers well for the future of the company.

I enjoyed so many of the performances during the evening that I hesitate to single out individuals for praise, but I particularly liked Maggie Bourgein's feisty Paulina, Keith Palmer's warm-hearted shepherd, Alan Caig's tortured Leontes and Jack Dowell's defiant Florizel. The whole production is yet another jewel in the Estuary Player's crown.

- Reviewed by: Ian Potts

Photos:

Click a thumbnail to view larger