(L to R) Jerry Hoffman, Drew Hirshfield and George Maguire as the clowns in Marin Shakespeare Company's THE WINTER'S TALE. Photo by Morgan Cowin.
“The Winter’s Tale” has long been a favorite of mine in the Shakespeare genre, for the fable contains comedy, tragedy, romance, and some fairy tale magic. Spousal team directors, Lesley and Robert Currier draw in all elements in Marin Shakespeare’s production of this popularly performed piece. My favorite part of the set design was an antique toy wagon, which was painted white. It carried great significance towards the end of the play. Recall that moment of “Citzen Kane,” where Kane cries out for “rosebud.”
Matthew Cavanna opens the performance as the character of “Time.” Shakespeare personifies “Time” only in “The Winter’s Tale.” The Curriers take full advantage of that aspect. Throughout the play, Cavanna either quietly observes, moves along with the characters thoughts, or personifies other subjects such as “the bear” which pursues Antigonus at the most famous stage direction “exit, pursued by a bear.” Cavanna both opens and closes the play with a long hornpipe echoing the passage of time. Cavanna moves wonderfully to the choreography of Cynthia Pepper, aptly enhancing the production. Cavanna demonstrates his six years of studying movement and acting in New York City.
The main character, Leontes, King of Sicilia, performed by Rafael Untalan, wrongly suspects his wife, Hermione, of sleeping with his childhood best friend, Polixenes, King of Bohemia. He judges with unreason, and hints to the audience about their affair with sexual imagery. Untalan does not play on his character’s rage. Instead, we see a slow progression of his downward spiral. He uses the imagery humorously, allowing the comedy to flow in. I appreciate Untalan’s reaching out to the audience to draw us in to Leontes’ abyss.
Actress Alexandra Matthew lends her role of Hermoine a contemporary edge. She does not fall victim to her husband’s false accusations. Even as she greets Polixenes, she portrays tomboyish friendliness, yet maintaining Hermoine’s regal qualities. She demands to be judged by Apollo’s oracle to prove her fidelity. Even as the oracle proves her innocence, Leontes insists that she betrayed him. As she hears of her son’s death, her hurdling scream chimes in reality, reminding us of the worst result of Leontes’ brutal ruling. We see her collapse in her death after the scream. Leontes finally sees that his judgment was wrong. Again, Untalan carefully leads the audience into Leontes’ anguish.
Leontes’ court tried to reason him out of his folly. Antigonus, played by Michael Ray Wisely, and Camillo, performed by Jerry Hoffman, carry conviction to their roles.
Leontes refuses their counsel and orders them to do the unthinkable. Camillo, ordered to poison Polixenes, instead warns the other king to flee back to Bohemia. Camillo finds refuge in Polixenes court. Leontes, believing his newborn daughter to be of Polixenes, orders Antigonus to carry her out of the kingdom. Antigonus decides to leave a letter, which describes her lineage and some gold in the baby’s basket. He names her “Perdita,” which means “lost.” Her name symbolizes the loss felt by the main characters in the play.
Alone in Leontes court, Camillo’s wife, Paulina, boldly confronts the wrathful king. Celia Madeoy captures this role with panache’ and comedy at times. She makes the role desirable for any aspiring actress. When Paulina consoles the king, Madeoy ably adjusts to Paulina’s forgiving and compassionate side. For me, Madeoy stood out in the cast for her strength.
In the latter half of the play, we find Perdita as a seventeen year old, who has been raised by an old rustic and comedic Shepard and his rather obtuse minded son. George Maguire gives the older man a southern accent, akin to Larry the Cable Guy. He manages to deliver the lines with the right inflections. Likewise, as the son, Drew Hershfield pans out facial comedic expressions.
Perdita has been selected to be the festival hostess for pastoral pageant. Here, Shakespeare compares the formality of court with the relaxed joviality of the country. Kate Fox Marcom captures the audience both with her youthful beauty and her ability to handle Shakespeare at a young age. It should have been easy for actor, Mark Robinson, to play Florizell, the young prince of Bohemia, who falls in love with her. Robinson and Marcom carry a great chemistry on stage, reminding us of the excitement of teenage romance.
Jerry Hoffman again appears as the wreck of a cozener, Autolycus. Hoffman bellies out his role with a drunken laughter. Autolycus can steal baby’s purse from her keeper, but Hoffman manages to make the audience still like him. Autolycus is joined by an antic crew, such as Brian Tryborn as the Mariner, Allison Rangel as Mopsa, and Jennifer Provenza as Dorcas.
Actor Scott Coopwood lends Polixenes the humor needed in a character, who can forgive his friend. We see the bond between the characters of Polixenes and Leontes. Yet, in the second act, Wisely switches to malice unreasoning, like that of Leontes. Polixenes finds his son, Florizell, in love with Perdita, whom he believes to be a simple Shepard. He forbids the relationship with the threat of death. Florizell remains with the young woman, whose real identity has not been revealed. Camillo decides to help them by leading them back to Sicilia.
In Sicilia, all families and friends reunite after Hermione magically comes back to life from her own replicated statue. Perdita’s true heritage is revealed through Hermione’s awakening.
Gabriel Cowger, the youngest of the cast, gives a very impressive performance as Mamillus, Polixenes and Hermoine’s son. The sixth grader seems to be at ease with Shakespeare as well conveying virtual feelings.
Abra Berman’s costume designs decorated the court scenes in all white draping clothing. Whether reminiscent of either Ancient Egypt, Greece, or Woody Allen’s futuristic film “Sleeper, I was not sure. However, the costume design was redeemed by the bright colorful dresses in the pastoral scene.
The most haunting moment was at the end. In the beginning, we see Mamillus playing with the white painted toy wagon. It could have all ended on one great happy note as intended. Instead, we are given a stark reminder of Mamillus’ death. The families and friends are happily reunited and walk off the stage. Yet, we see Leontes turn to reach for the wagon’s handle. The moment alone expresses the pain of loss that we all have experienced. The Curriers created an original, yet profound ending to “The Winter’s Tale.”
$30 dollars, general $25 Seniors (65 and over) $15 youth (18 and under)
$2.50 discount given to general and senior tickets when purchased in advance
Performances of Amadeus and The Winter’s Tale run until August 24. Performances vary from night to night
0 responses so far ↓
There are no comments yet...Kick things off by filling out the form below.
You must log in to post a comment.